Step into the world of Gabriel Franchi, a Latin Grammy-nominated producer, multiple Emmy Award winner, and Dolby Atmos engineer, as he shares insights from his 20+ years in the industry. From his work at DogManic Studios to harnessing Antelope Audio gear, discover how he creates immersive soundscapes and unforgettable audio experiences.
Gabriel, your career spans over 20 years, starting in Venezuela with a Latin Grammy nomination. How did those early experiences shape you as an engineer and producer?
I feel really fortunate to have started my journey in the music industry at just the right time and with the right people around me. In my country, the music scene was really taking off internationally, and I had the chance to work on records that hit number one. That eventually turned into my full-time career, which still feels surreal sometimes. Honestly, more than just the technical skills, I’ve learned that the way you connect with artists and musicians, and how you carry yourself in the studio, is what really helps you build a strong creative network. When you’re in a session, no one is above anyone else. It’s a creative space where there’s no room for ego.
You've worked across music, film, and TV. How do you balance the technical and creative sides of your work, and what keeps you passionate about such a diverse range of projects?
After spending a few years focused only on music, I got the chance to assist in a foley recording session, which wasn’t really my forte at the time. But, I was impressed by how much you can manipulate sound and how creative the process of crafting sound effects for audiovisual projects can be. That led me to take on some small projects for short films, and a few of them even ended up winning awards. From there, I started working on TV commercials and other visual projects alongside my music work. Now, with the rise of Dolby Atmos, the worlds of music and audiovisuals are merging again. I’ve been learning a lot and recently worked on an Atmos mix for ‘The Night Doctrine,’ which was nominated at the Tribeca Festival in 2023.
Let’s dive into your setup. You're using the Orion32+ Gen4 interface in your approved Dolby Atmos - DogManic Productions studio in Florida. How has this interface enhanced your workflow, particularly when dealing with immersive audio?
That was an easy choice, lol! I started researching the perfect interface for my home studio, something versatile, with a great clock, and portable enough for field recording. The Zen Tour Synergy Core turned out to be the perfect fit! It’s a beast in a small package. I use it to record, mix, and master, and I’ve got zero complaints.
When Christian and I talked about building a Dolby Atmos room at DogManic Recording Studios, I immediately recommended the Orion 32+ Gen 4 along with the MRC. It’s super sturdy for a mid-sized studio, with all the I/O you need for day-to-day operations, and moving up from a regular session to a Dolby Atmos session is as easy as a couple of clicks, including speakers and bass management. It’s THAT simple! Now we’ve got Antelope’s top-notch hardware, 32 ins and outs for multitrack recording and mixing in a full Dolby Atmos setup.
You recently added the Orion Studio for your second Atmos-ready room. How does using Antelope Audio's interfaces across both rooms help maintain consistency and streamline your production process?
It was a great decision to make the Orion Studio Atmos compatible. I think the best thing about the MRC is how it works seamlessly across all interfaces. It’s a really affordable option for smaller rooms, and for us at DogManic Recording Studios, it makes it super easy to check Dolby Atmos mixes in two different room sizes and ensure they translate well. Plus, the room calibration software is incredibly thorough, with all the settings you need for calibration in one place.
As someone who is both a producer and a Dolby Atmos engineer, how do you think immersive audio is transforming the landscape of audio production today?
I still feel that we are in the middle of a storm with the trend of Dolby Atmos. Nowadays there is a lot of misinformation in the audio industry, too many content creators getting the wrong attention and talking with the wrong terms, and this is a bit confusing for the new generations of engineers. While Dolby Atmos technology is still evolving, most of us (and even Dolby Labs) are in an experimental phase. But, I believe that surround audio will become huge and offer a new level of entertainment.
Antelope Audio is known for its top-tier converters and mastering clocks. How do the converters in the Orion32+ Gen4 and Orion Studio impact the precision and clarity of your mixes, especially in spatial audio formats?
That’s exactly why I recommend the Orion 32 Gen 4. I’ve had great personal experience using the Zen Tour Synergy Core, and I know a lot of engineers tend to overlook the importance of the conversion process. But I’m super detail-oriented (and a bit picky, lol) in my work, so clarity and stereo separation are really important to me.
Now, having that same level of quality in Dolby Atmos gives me the confidence that I’m working with the best precision and sound.
What advice would you give aspiring audio engineers or producers just starting out? Are there common pitfalls they should be aware of?
It’s been a real roller coaster for me. I moved to three different countries before finally settling in the USA. Being surrounded by many different cultures shaped how I think and approach new projects. My best advice is to work with passion and always try to learn something new. Strive for excellence, and be sensitive and thoughtful in your craft.
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Watch the 3rd part of our H.E.R.D (harmonious Engineering and Recording Division) power-user stories on YouTube channel.
