About Me
I’m an Australian-American mastering engineer based in Seattle. Over the past five years, I’ve mastered more than 1,700 releases, helping artists preserve the emotional truth of their music.
I’m a graduate of Berklee College of Music’s Music Production & Engineering program, and have worked in some of the world’s most respected studios. My approach was shaped under mentors like Jonathan Wyner (Pink Floyd, David Bowie), Sean Slade (Radiohead, Pixies), and John Storyk (Electric Lady, Jungle City).
I write about the philosophy of mastering, silence, and finalization, and I contribute regularly to publications like Sound On Sound, SonicScoop, and Production Expert.
My passion lies in both the artistic and technical sides of mastering—ensuring the music leaving my studio doesn’t just sound exceptional but fully resonates with its audience. At the heart of my work is a balanced, thoughtful method developed over years of experience, focused on preserving emotional impact, achieving translation across all systems, and delivering results that remain timeless.
When you work with me, you’re not just hiring a mastering engineer; you’re gaining a dedicated partner who’s as invested in your music as you are. I don’t rely on intermediaries or assistants—it’s just your music and my ears, ensuring every detail receives my full attention. This personal, hands-on approach fosters honest collaboration and keeps your artistic vision at the center of every decision.
Over my career, I’ve mastered everything from DIY folk to major-label pop, including tracks that went platinum, reached #1 on iTunes, topped Spotify’s Global Viral chart, and landed on Billboard and the UK Top 40. My work has reached billions of listeners globally along the way. I’m a voting member of the Audio Engineering Society and among the select engineers authorized to deliver Apple Digital Masters. I use a setup built around Audeze LCD-X headphones and ATC monitors, with a signal path designed for accuracy and emotional clarity. Every piece is chosen not for hype, but for honesty—so what I hear in the studio is what your listeners feel out in the world.
My downtime isn’t about constant productivity anymore; I’ve learned to manage the freelancer’s dilemma: to step back, pay attention, and return to what feels essential and genuinely helpful. Between sessions, I spend quiet time with my wife Maya and our dog Ozzy, or read with coffee in hand. I meditate daily, a Vedic practice anchored in stillness and the unified field, and I practice Kōdō, the Japanese incense ceremony, as a way of listening more deeply to the ephemeral. I’m also a deep admirer of Carl Jung, whose work on archetypes, shadow integration, and the idea of art as a projection of the unconscious continues to shape how I understand sound, emotion, and meaning.
I still love producing my own records, writing poetry, and reading. Literature, cinema, and music have always been profound sources of guidance and inspiration throughout my life. A few favorites are Don Quixote, On the Road, and Crime and Punishment. Favorite films include 2001: A Space Odyssey, Chinatown, and Withnail and I. And my favorite album is Pet Sounds, followed by both volumes of Aphex Twin’s Selected Ambient Works and Burial’s Untrue. In 2019, I released a collection of my poetry called Opening, along with my solo album, The Blue Shore of Silence. My most recent solo release is a single called Home.
I wrote The Wright Balance Method as a personal philosophy of mastering, listening, and letting go. No signup, no obligation—just something I wanted to share.
I don’t have all the answers, but I’ve learned a lot along the way—and I’m always happy to share what’s helped me. If you’re working through something, creatively or personally, feel free to reach out.
