What is mastering?
Mastering is the final step in the record production process—the bridge between your mix and release day. It’s where an objective, trained set of ears makes sure the music translates across real-world playback, and where the final deliverables are prepared cleanly for distribution.
My work is based on detailed, focused listening in an acoustically treated room with high-fidelity monitoring and conversion. I catch issues that can slip past a long mix session, and I handle track sequencing, fades and transitions, metadata, and correct file formatting. I also offer stem mastering and audio restoration when needed.
No two mastering engineers are the same—taste and judgment matter when refining the balance of bass, midrange, and treble to support what the music is actually saying. A crucial part of the job is also level and dynamics: achieving a consistent, competitive loudness while protecting clarity, impact, and musical movement. Done well, mastering makes the final step feel simple—your record sounds settled, and you’re ready to release.
FAQ Essentials — quick answers to the most common client questions on mix prep, turnaround, and revisions.
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Over the course of 1,800+ releases, I’ve developed The Wright Balance Method, a mastering approach grounded in emotional fidelity, clarity, and restraint.
In mastering, I’ve found that the most emotionally resonant work happens when we let feeling lead the way: when subtlety takes priority over sheer loudness or polish. In that sense, I’ve come to believe — borrowing from a classic design principle — that form follows feeling.
When you work with me, you won’t get a generic preset or a one-line email. This is hands-on, attentive mastering rooted in collaboration. I believe every artist and producer has a unique vision, and my role is to help realize that vision with care and precision. I take the time to listen closely — to both your music and your goals — so that every decision serves the song, not my ego or a trend.
I work in a calibrated, world-class environment I know intimately, drawing on years of experience and a deep understanding of modern platforms and playback systems. But beyond the technical, I believe great mastering ultimately comes down to trust: one engineer, one trusted set of ears, fully in service of your music.
That’s what The Wright Balance Method is all about: preserving emotion, ensuring your music translates beautifully across every system, and delivering masters that feel timeless and settled.
If you’d like a deeper look at the mindset and process behind my work, you can read the full story here ▵
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I know mastering can feel like a complicated subject, so I keep communication clear from the start of the project until you’ve approved the final masters. You can expect direct communication, a smooth workflow, and a process designed to feel calm—not drawn out. If you’d rather work directly with your mastering engineer instead of through a booking manager, feel free to contact me.
After receiving your mix, I listen carefully, analyze it, and—if needed—flag any technical issues that are worth addressing before mastering. From there, the first pass is a clear decision (not a vague “draft”), with brief notes in plain English so you understand what I did and why. If something is clearly not aligned with your intent, I’ll do one focused “reset” revision at no extra cost to get us onto the right track—fast, without loops. I stay committed to your project until it feels finished and you’re confident signing off.
Once the final master is approved, you’ll receive a download link with a 24-bit WAV, a CD-quality version, and a reference MP3. Typical turnaround is 1–3 business days for singles and 1–2 weeks for albums.
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Absolutely. It’s just me here; I’ll be the one listening, mastering, and communicating with you directly every step of the way. Your music gets my full attention from first listen to final print. This also helps keep things quick and smooth—most projects are turned around in just a couple of days.
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I work entirely in the box—though that box is very well-stocked. I use only high-end tools I know intimately, and I reach for “flavor” only when it genuinely serves the song.
I’ve never believed mastering is about the gear. It’s about listening, judgment, and care—getting the record to translate beautifully and feel finished, without chasing a trend or a signature sound.
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I don’t offer mixing services. Mastering and mixing are different crafts for good reasons, and keeping them separate is usually what leads to the best result.
The biggest reason is objectivity: mastering works best when a fresh, trained set of ears can hear the record as a whole and make clear, final decisions without being attached to individual tracks. I also work in a mastering-specific, acoustically treated environment with tools designed for the last step—translation, consistency, and release-ready delivery.
If you’d like a deeper explanation, I wrote a blog post on the difference between mixing and mastering. And if you’re looking for a mixer, I’m happy to refer you to people I trust.
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I offer a few additional services and formats if your release has specific needs.
When working with Apple Digital Masters (aka Mastered for iTunes), your source material should be recorded and mixed at the highest possible bit depth and sample rate. Some distributors, such as DistroKid, TuneCore, and CD Baby, openly support ADM, but it’s best to check with yours in advance. I’ll include my unique authentication key with your delivery so compatible distributors can verify and properly display the files.
For compact disc (CD) releases, I can provide a DDPi production master — the preferred format for pressing plants — which includes your audio, song order, track spacing, and metadata.
If you’re pressing to vinyl, I offer dedicated pre-masters tailored to the format’s physical limitations, giving the cutting engineer an optimized version for clean playback.
Analog / tape processing are also available on request for an additional fee.
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Mix Bus Preparation
Remove any limiters from the mix bus.
Ensure the mix is not clipping (peaks should stay below 0 dBFS).
Session Settings
Turn off the following settings:
Normalization
Overload protection
Trim silences
Dithering
Do not change the sample rate of your session or upsample the audio.
File Format Requirements
Export your mix as either:
32-bit floating point WAV files, or
24-bit WAV files
Exporting Your Mix
Perform an offline bounce for accuracy and efficiency.
Double-check the bounced mix to ensure it matches your expectations.
Make sure everyone involved has approved the final mix(es).
Reference and Alternate Versions
Include any reference versions of your mix that have been limited or premastered.
Send additional versions such as:
Radio / Clean edit
TV / Performance version
Instrumental
A cappella
For more detailed information on mix prep, check out this page.
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I don’t offer free test masters. Instead, I’ve put together a dedicated page of level-matched before/after examples so you can hear what changes—and what stays intact—when a record is mastered with care. Each track is normalized for a fair comparison, recreating how streaming platforms handle playback.
You can listen here: Compare Before & After Masters →
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Reach out through the website contact form or email me at aw@alexanderwright.com. Tell me what you’re releasing (single/EP/album), your timeline, and anything that absolutely can’t get lost in mastering—references welcome but optional.
I keep calls and DMs rare to protect focus; email is fastest. If you’d like a short scheduled call, I’m happy to do that.My current booking status is always visible on the contact page, and I usually reply within 1–2 business days. I’ll make the next steps clear and keep it simple from there.
Rates and Terms
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I treat mastering as a craft, not a bulk service, so my pricing stays consistent whether it’s one song or twenty. Albums aren’t cheaper per track; if anything they usually take more attention for cohesion, especially when songs were mixed months apart. I price per song because that’s how the work actually happens. These rates help me stay accessible to independent artists while giving each project the care it deserves. Very short pieces—interludes/intros/outros under a minute—can be priced lower.
Per Song: $140
Includes a 24-bit WAV master, a CD-quality version, and a reference MP3.
Up to three revisions, direct one-on-one communication, and a typically quick turnaround (often within 48 hours for singles).
Each Alternate Mix: $35
Instrumentals, radio/clean edits, a cappella versions, etc.
Delivered in the same three formats as the main mix.
Apple Digital Masters (per project): $100
As an Apple-certified mastering engineer, I deliver optimized Apple Digital Masters files that meet Apple’s specifications for distribution.
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Alternate Mixes and Pricing
Alternate versions (e.g., instrumental, clean edit) must be submitted simultaneously with the main mix.
Late submissions of alternate mixes will be charged at the full mastering rate.
Revision Policy
Up to three (3) revisions per track are included at no additional cost.
Revisions due to mix changes requiring re-mastering will be billed at 50% of the initial mastering fee.
Payment Terms
Full payment is required before the commencement of mastering work.
A song is defined as one file under 8 minutes in length. Files exceeding 8 minutes may incur additional charges.
Additional Notes
Please ensure all mixes are finalized before submission to avoid unnecessary revisions and additional charges.
By engaging Alexander Wright Mastering to master your music you hereby undertake to ensure that all mastering credits are correctly given wherever the masters are shared across all media platforms, along with the distributor and/or label responsible for credit attribution.
For any questions regarding these terms, please contact me before starting your project.
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4% of all mastering revenue supports verified humanitarian, environmental, and ethical organizations, with donations distributed evenly each quarter.
Current Partners
Doctors Without Borders (MSF) — providing independent medical care wherever it’s needed most.
Save the Children — protecting and educating children in vulnerable communities worldwide.
Room to Read — improving literacy and gender equality in education across low-income communities.
WaterAid — ensuring access to clean water, sanitation, and hygiene for lasting health and dignity.
Oceana — protecting marine life and ecosystems through science-based policy and conservation.
Trees for the Future — restoring degraded land and improving food security through sustainable agroforestry.
Hearing Health Foundation (HHF) — research and prevention for hearing loss and tinnitus, supporting lifelong listening.
The Ehlers-Danlos Society — advancing research and awareness for connective-tissue disorders, a cause close to home.
International Association for Suicide Prevention (IASP) — leading global research and advocacy for suicide prevention and mental-health awareness.
ASPCA — preventing cruelty to animals and promoting compassionate treatment for all species.
You’ll also see an optional “Add a Tip” field on invoices — 100% of any tip goes directly to the same fund. There’s no expectation; every master already contributes to these causes.