I’m an Australian-American mastering engineer based in Seattle. Over the past six years I’ve mastered 2,000+ releases, with a focus on preserving the artistic intent of the music.
I’m a graduate of Berklee College of Music’s Music Production & Engineering program, where I worked in world-class studio environments and studied with mentors like Jonathan Wyner, Sean Slade, and John Storyk.
I write about mastering, perception, and finalization, and I contribute regularly to publications like Tape Op, Sound On Sound, SonicScoop, and Production Expert.
I’ve mastered everything from DIY releases to major-label work, records that went platinum and charted internationally, with work landing across major streaming editorial ecosystems. I actively contribute to the Audio Engineering Society (AES) through its Standards Committees, working on how audio is measured, exchanged, and preserved — work that directly informs my approach to mastering and delivery. I am authorized to deliver Apple Digital Masters (ADM), so your releases meet Apple’s delivery requirements cleanly. I’m also a voting member of the Recording Academy.
My setup is built around Audeze headphones and ATC monitors, with Chord Electronics driving the headphones and Lynx D/A feeding the monitors for accuracy and consistency. The goal is simple: clarity, translation, and decisions that hold up outside the studio.
When you work with me, it’s direct and personal. I take the record seriously, and I don’t rush decisions that matter. I don’t rely on intermediaries or assistants: it’s your music and my ears, ensuring every detail receives my full attention. This hands-on approach keeps communication simple and decisions consistent from first pass to final delivery.
Between sessions, I spend time with my wife Maya and our dog Ozzy, or read with coffee in hand. I produce my own experimental electronic music. I practice zazen daily in the Sōtō Zen tradition, following Dōgen’s insistence on just sitting: not chasing a special state, not improving myself; returning to the posture and letting things be as they are. I also practice Kōdō as a way of training attention toward fleeting things. And I’m a deep admirer of Carl Jung, whose work I use as a method for watching projection, listening for the symbolic charge in sound, and noticing what a record activates in the listener (and in me).
In 2019, I released a collection of poetry titled Opening, now in the permanent collection of the State Library of Victoria; a home for poems that began as fragments in my notebooks. That same year, I released my solo album, The Blue Shore of Silence. More recently, I’ve released my experimental electronic music on BandCamp.
In 2025, I wrote The Wright Balance Method as a personal philosophy of mastering, listening, and letting go. I am currently working on The Dignity Margin, a book about attention, judgment, and human dignity.
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