Q&A on ImmersiveAudioAlbum.com with Gabriel Lundh

Gabriel Lundh, a 24-year-old producer and mixer, has equipped his studio in Sweden with one of the country's first Dolby Atmos setups, showcasing his commitment to immersive audio technology. His portfolio includes mixing for a diverse array of artists like Smith & Thell, Maia Reficco, and Emma Jensen, and contributing to soundtracks for projects such as Nickelodeon’s “Kally’s Mashup, A Very Kally’s Birthday” (2021) and Netflix’s “The Prom” (2020). Beyond his work in the music industry, Lundh has also crafted sound designs for brands including H&M, Human Horizons, and Fabege.

Lundh’s engagement with audio engineering started in a simple home studio, fostering an early interest in production. His journey into immersive audio was sparked by a curiosity about Dolby Atmos, prompted by the format's flexibility and the potential for future-proofing audio content. This led him to adopt what he calls an "Atmos First" approach, prioritizing the format from the onset of his projects.

His studio, "the dome.", reflects his move towards immersive audio, with the transition facilitated by advice and support from Dolby representatives like Ceri Thomas and David Ziegler. This guidance was instrumental in setting up his studio for Atmos mixing and mastering, enhancing his capabilities in the format.

Lundh's exploration of immersive audio is exemplified in his debut solo album, "Adventures of," released under the stage name Pollnow. The album was a testbed for his immersive audio techniques, created in between other projects in short, focused sessions. This approach led to a spontaneous and innovative production style, shaped significantly by his experiences and learnings in Dolby Atmos mixing.

When it comes to mixing in Atmos, Lundh employs a thoughtful strategy that respects both the artist's vision and the listener's experience, aiming to create an enveloping soundscape without overwhelming the audience. This balance is crucial in his work, influencing how he introduces elements in the immersive space.

Artists' reactions to their music in surround sound have been overwhelmingly positive, with many feeling that Atmos provides a deeper emotional connection to their work. Lundh notes that while the format is gaining traction, feedback and revisions can present challenges due to the relatively nascent state of immersive listening environments outside the studio.

Regarding the recent advancements in Atmos music streaming by Apple and Tidal, Lundh is optimistic. He recognizes the challenges and opportunities these platforms present, particularly in adapting mixes to suit different binaural rendering engines. His adaptive approach reflects a commitment to ensuring his mixes perform well across all environments, acknowledging the nuanced differences between platforms.

Looking to the future, Lundh is excited about the potential projects and the continued exploration of immersive audio, seeing Dolby Atmos as a pivotal development in music production. His journey into immersive audio not only highlights his adaptability and innovative spirit but also underscores a broader industry trend towards more enveloping listening experiences.

Read the full interview on this link.