Alexander Wright




I think it’s fair to say that a mix can make or break any song. The balance of each instrument, the width of the stereo field, the punch of the bass – all are considerations that require minute attention in order for your song to sound professional and ready to be mastered. Using Pro Tools, I offer a complete mixing service for any genre of music, and I aim to bring out the best from your recordings to transform any demo, session, or project into a dynamic, rich, and creative mix.




Upon receiving the multitrack stems to your song, I will first organize and rename them in accordance with modern studio conventions, import them into a new Pro Tools session, and color code each track relative to its role in the arrangement. In this way, I will be working in a new session exclusively for mixing but your music will play back exactly as it did when you last heard it. Before I change anything, I will repeatedly and critically listen to your mix, make copious notes, and use a variety of metering solutions to monitor your audio for important information that could assist in making creative decisions down the line.

I like to think of the next stage in the mixing process as one of adding color. This is where the bulk of the mix occurs, as I reference my notes and apply a variety of effects and leveling/shaping tools to your song. My gear includes hardware and software from SSL, Waves, Soundtoys, Valhalla, FabFilter, SPL, Universal Audio, and many more. Very carefully, I will move back and forth through a process of elimination and experimentation, comparing each edit I make to the original sound before I commit. This requires a lot of time and attention to detail, as I have access to a huge array of digital and analog reverbs, compressors, limiters, expanders, phasers, flangers, choruses, delays, tape, equalization, and sound design utilities – any of which can work magic on your song with the right touch.

As opposed to mastering (which is further removed from the creative process) the best mixes come from engineers who make an effort to interact with the producer(s), artist(s), arranger(s), and/or songwriter(s) of a given piece of music. Questions about the stylistic direction of the record, the timbre of an instrument, or the presence of some anomaly in a track are all things which can and should be discussed in order for you to get the exact results you hope for, and I will make sure that we keep an open dialog as I mix your music and provide timely revisions via shared folders in Google Drive and/or Dropbox.




There are some things we need to double check before you send your stems to me. First of all, please bounce out your complete project as you have mixed it (including any plugins on your master fader) so I can get a clear idea of the results you’re looking for. Then, bypass any plugins on your master so that your song has sufficient headroom to be mixed, and make sure that each individual track is bounced out with any processing/automation you have applied turned on. Check that every mix level is set where you want it to be and that you don’t apply normalization, dither, or trim silences upon export. That way, when I first play each multitrack on top of one another in my Pro Tools session your song will sound exactly the same as the version in your DAW. For that purpose, it is also extremely important that you bounce out from your DAW with the same bit depth and sample rate at which your session was recorded. For example, a track recorded in a Logic session as 24-bit/88.2kHz should be sent as a .wav or .aiff file at 24-bit/88.2kHz for mixing. I am of course always happy to work with you in ensuring that your tracks get to me in the right format.


I love nothing more than listening to music, studying its textures, timbres, and palettes, and then critically considering what I would change and how I would change it. There is a real thrill in the transformative process of mixing, where there are endless possibilities for shaping sound into enhanced versions of itself. The power of an arrangement can often be left at the mercy of a mixing engineer, who must always treat the music they mix with great respect. It is with such respect and care that I approach everything I do, and I sincerely hope that my love for this craft can be heard in the results I provide to you.