Quotes
All attributable to Stephan Bergmann, founder of Desteba Productions S.L. Sorted by the angle you are writing rather than by our order of importance. Nothing here needs approval and nothing needs a footnote.
If you have one line
Under twenty words each. Use them standalone or as a pull quote.
“A mix stops being alive the moment it is exported. I did not think that had to be true.”
“A format that has to react has to arrive everywhere. A per-device fee guarantees it will not.”
“A ceiling set by a format cannot be bought past. A faster machine can.”
“A painter does not call the buyer to explain the brushwork.”
“A format nobody can open is not a format. It is a private file.”
“Nobody commissions what nobody can hear.”
Why it exists
The story most interviewers end up asking for. Usable whole or cut at any paragraph.
“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.”
“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.”
“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.”
On the business model
For the angle about licensing, gatekeeping and what open actually costs.
“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.”
“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.”
“Immersive audio spent fifteen years as a premium tier. The technology stopped being expensive a long time ago. The licence never did. A fee is a filter, and this filter selected for budget rather than talent.”
“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.”
On who it is for
For the human-interest angle, or the piece about access.
“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.”
“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.”
“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.”
“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.”
On the engineering
Where the numbers are, and where the honest limits are.
“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.”
“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.”
“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.”
“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.”
“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.”
Not here?
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.
German and Spanish versions of everything on this page are in the press kit. The name is written saimox, always lower case, including at the start of a sentence.