saimox — QUOTES (EN)
All attributable to Stephan Bergmann, founder of Desteba Productions S.L.
Sorted by the angle you are writing. Nothing here needs approval or a footnote.
The name is written saimox, always lower case, including at the start of a sentence.


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IF YOU HAVE ONE LINE
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On the idea
"A mix stops being alive the moment it is exported. I did not think that had to
be true."

On the business model
"A format that has to react has to arrive everywhere. A per-device fee guarantees
it will not."

On the ceiling
"A ceiling set by a format cannot be bought past. A faster machine can."

On delivery
"A painter does not call the buyer to explain the brushwork."

On the free player
"A format nobody can open is not a format. It is a private file."

On the point of it
"Nobody commissions what nobody can hear."


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WHY IT EXISTS
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The short version
"It started because I could not tilt a movement. That is the whole thing, really.
Everything else came out of being annoyed about that for long enough."

The full version
"I mix in Dolby Atmos. One afternoon I had an arc across the room that had taken
me an hour to get right — thousands of keyframes, small offsets between the
objects, exactly the shape I wanted.

Then I wanted it slower. And I wanted the same shape tilted onto another axis, so
it swept overhead instead of across.

Copying the keyframes I could do. Every DAW does that. Stretching that movement in
time, or rotating it around X, Y or Z — nothing does. There was nothing to save.
Only points that meant nothing outside the arrangement they came from."

The bigger problem behind it
"It is the small version of something larger: in 2026 we are still building
three-dimensional experiences with two-dimensional tools. It is like painting,
except you have to mix every colour from the three primaries first, every single
time. The picture is still possible. The inspiration is gone long before you get
there."


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ON THE BUSINESS MODEL
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The core of it
"Sell a format and you earn from every device that is supposed to be able to play
it — whether its owner ever uses it or not. Sell a tool and you only earn from
the people who think it is good. We picked the second one."

Why it has to be free
"A format that has to react has to arrive everywhere. And a fee per device makes
sure it does exactly the opposite. That is not idealism, it is arithmetic."

On what it cost the field
"Spatial audio spent fifteen years as a premium tier. For labels on priority
releases, for carmakers in the top trim, and for the listener on the more
expensive streaming plan. The technology stopped being expensive a long time ago.
The licence never did."

On discounts
"No sales, ever. Whoever buys on the first day pays what somebody buying in
November pays. Anything else is telling the people who trusted you early that they
were wrong to."


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ON WHO IT IS FOR
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The person it was built for
"Somebody sitting in a bedroom at two in the morning who does not have a room with
twelve speakers and is not going to get one. They finish a track, they send it,
and the person at the other end hears a voice actually move around their head — on
the phone they were already holding. Nothing installed. No account. Not a euro."

On the artist
"There are musicians who have never heard their own record in three dimensions,
because the software to open it was not theirs to have. That is a strange sentence
to be able to write in 2026."

On the back catalogue
"Your old sessions are not an archive. They are raw material. Stems from years ago
come back in as objects, every one of them free to move again."

On the assumption underneath all of it
"A lot of people have quietly decided that spatial audio is something that belongs
to other people. I would like that to stop being true."


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ON THE ENGINEERING
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On the object ceiling
"A ceiling set by a format is one you cannot buy your way past. No budget fixes
it, no faster machine fixes it, and everything downstream gets designed around a
number somebody else picked. A ceiling set by hardware behaves differently: it
moves when you buy a better machine, and everyone already knows how to do that."

On being wrong in public
"We first explained our own measurement by processor cores. Then we ran it on a
second machine with the same number of cores and got twice the objects. It is
memory, not the processor — one ring buffer per object. Publishing the number
was how we found out the reasoning behind it was wrong."

On real metres
"The moment the units became real, half the parameters I had built disappeared.
The physics was already doing the work. Less to tune, more that is true."

On motion
"A keyframe is a decision you already made. A pattern is a behaviour that is still
running when the listener presses play. Keyframes are the bitmap of a movement. A
pattern is its vector."

On what is not being claimed
"Turning a sound field is not our invention — game engines have done it for twenty
years. That it arrives at the listener is the new part. And carrying every object
as itself costs real bitrate. We would rather name that cost than hide it."

On measurement
"I am not chasing accuracy, I am chasing predictability. An error I can
characterise is one I can correct for. One that moves with the material is not."


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NOT HERE?
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If you are writing about something these do not cover, write and you get a quote
on it, usually the same day. There is no communications department to route it
through — press@saimox.com
