This article demonstrates in a practical approach the challenges to mix sounds and create masters in a 360º environment (for VR videos). The research experiments and the conclusions were made during the time of implementation of spatial sound design on the studios of the immersive video company yondr (Belgium). This article is based on four different projects, each one with different needs (live-action, video with voice over and/or stereo soundtrack, animation and others). The author divided this study in three parts. In the first part the author discuss the different methods to record, regarding the Ambisonic master, and the problems to work with a non-acousmatic source of audio. The second part is focused on the mid-side paradigm and its comparisons with Ambisonic paradigms. In the second part there is an overview at some of the main software solutions currently available to work with Ambisonic and the workflow within different Ambisonic orders as well. The third part is an in-deep analysis of the four projects and its mixing particularities in Ambisonic space, the work with limiters, compressors and volume affecting effects and the different mastering process and practical implications of each master. At the end will have proposals for new approaches to the Ambisonic mastering process.