Issue link: https://digital.copcomm.com/i/1512678
74 W I N T E R 2 0 2 4 I C A S Q U A R T E R L Y IMMERSIVE PODCAST MIXING Scripted-fiction immersive podcasts are on fire nowadays, and yes, that's the proper name. Most of them are mixed in Dolby Atmos and the sound design is massive. I've been mixing these shows for a couple of years now, and for someone who came from the music world, it's been an incredible and enjoyable journey. b y L a m p s L a m p a d i n h a C A S I've been working in the sound industry for 30-plus years (time flies—phew!) and I've had the privilege of working on some amazing projects over this time. I started my career in the radio days, mixing shows, creating content, producing shows and commercials. On the weekends, instead of chilling at home, I was mixing live shows for artists or working as a DJ at hip-hop nightclubs. As you can see, I was on fire, I was hungry. After several years, I co-founded a small recording studio, where I gained experience tracking and mixing indie bands. This was enjoyable, but I eventually decided to focus on becoming a full-time recording and mixing engineer. Over time, I began producing my own bands, as well as mixing, recording, and mastering for other artists. I mixed and produced countless albums, and then I realized it was time for a change. I moved to Los Angeles\ and... Film Industry! I was always crazy about the film industry; how things worked, the sense of teamwork, how it's been able to sustain and grow over its hundred-plus-year history—it has always fascinated me. I knew that I had to learn the craft from the ground up so, as a mixing engineer in music, becoming part of the sound department on set was my target. It's still crazy for me since I came from studio recording where everything is under control, and landed on a film set when usually nothing is under control! It's been fun and gratifying being part of this industry for all these years. As a native studio person, it was just a matter of time before I started mixing in post as a re-recording mixer on Pro Tools, which has been my comfort zone since the early '90s. I remember clearly when I started creating radio remixes, editing in an AKAI 4000DS back in the '80s, and today, mixing shows in Dolby Atmos with Pro Tools sessions—sometimes with more than 300 channels— amazes me how things have changed over the years. Now, I'm going to discuss my work and perspective as a re-recording mixer mixing immersive podcast shows.