I’m an Australian-American mastering engineer based in Seattle. Over the past six years I’ve mastered 1,800+ 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’m also authorized to deliver Apple Digital Masters (ADM), so your releases meet Apple’s delivery requirements cleanly.
My setup is built around Audeze headphones and ATC monitors, with a signal path designed for accuracy and consistency. The goal is simple: clarity, translation, and decisions that hold up outside the studio.
I master in a focused, taste-led way: one clear direction, fast turnaround, and revisions that stay anchored to the record’s intent. Loudness is calibrated to the reference and the release context, but never at the expense of tone, punch, or emotional shape. The aim is translation without sterilization, and a process that feels calm.
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 just 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.
Outside of mastering, I try to live quietly and return to what’s essential. Between sessions, I spend quiet time with my wife Maya and our dog Ozzy, or read with coffee in hand. I practice zazen daily in the Sōtō Zen tradition—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 what’s fleeting. And I’m a deep admirer of Carl Jung, whose work I use less as a set of ideas and more as a method: watching projection, listening for the symbolic charge in sound, and noticing what a record activates in the listener (and in me).
I produce my own experimental electronic music, and I keep a long-running archive of essays and PDFs on listening, finalization, and attention. I also maintain a hearing health guide for musicians and engineers.
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.
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.
4% of all mastering revenue is donated evenly each quarter to a set of verified humanitarian, environmental, and ethical organizations. Current partners are listed in the FAQ.
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