Alright – so today we’ve got the honor of introducing you to Alexander Wright. We think you’ll enjoy our conversation, we’ve shared it below.
Alright, Alexander thanks for taking the time to share your stories and insights with us today. Can you share a customer success story with us?
I was lucky enough to work with David Kushner on his breakthrough single Miserable Man, which has now passed 250 million streams worldwide. Seeing him grow as an artist, and hearing audiences around the world sing the song word for word, has been a surreal experience.
That kind of growth isn’t limited to major milestones. One of the most fulfilling parts of mastering independent music is witnessing those quieter transformations—when an artist goes from recording in their bedroom to finding their voice, their sound, and eventually their audience. Being part of that early process, helping shape the sonics before the world catches on, is something I never take for granted.
Alexander, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?
I’m Alexander Wright, a mastering engineer based in Seattle. I’ve worked on over 1,600 releases—from debut EPs to major label singles—and I approach every project with the same care, curiosity, and precision. I studied Music Production & Engineering at Berklee and had originally planned to go the traditional studio route, hoping to join an established mastering house in LA or New York. But when I graduated in 2020, the pandemic changed everything. Studios were closed, hiring froze, and like a lot of people, I had to pivot. My wife and I were living in Seattle at the time, and I ended up starting my own independent operation from the ground up. It wasn’t the path I expected, but it turned out to be the right one.
Mastering is a subtle but essential part of the creative process. My role is to help songs feel finished—to ensure they’re technically ready for release, but also emotionally clear and connected across different systems, spaces, and listening contexts. I work closely with artists, producers, and mixers to understand the heart of the music and make sure that feeling comes through in the final master. Sometimes that means gentle tonal shaping or solving mix issues; sometimes it’s about making bigger aesthetic decisions around texture, energy, or loudness. Either way, the goal is the same: to bring the music across the finish line without losing what makes it special.
What sets my work apart, I think, is a deep focus on nuance. I don’t treat mastering as a bulk service—it’s never about presets or chasing trends. I’m not trying to make a song sound like everything else—I’m trying to make it sound more like itself, and I see my work as a continuation of the artist’s voice. That takes restraint, empathy, and a willingness to really listen: to the song, to the people who made it, and sometimes to what’s quietly underneath it all.
What I’m most proud of are the relationships I’ve built—clients who’ve come back again and again, or passed my name along, or written to say that a song they’ve spent years on finally felt “right” after mastering. Those are the moments that stay with me. For me, it’s not about being flashy. It’s about showing up consistently, listening closely, and doing honest work that holds up over time.
Any stories or insights that might help us understand how you’ve built such a strong reputation?
I think it’s been a mix of consistency, word of mouth, and the relationships I’ve built over time. I’ve never tried to present myself as a brand or a big operation—just as someone who cares deeply about the music and tries to get it right every time. I’ve been lucky to work with incredibly talented artists and mixers who’ve shared my name, and that’s meant more than any kind of marketing. Over time, I think people have come to associate my work with a certain level of thoughtfulness and passion. Coming into mastering as a musician myself, I think I’m able to meet artists at a natural level—speaking their language, understanding what the music means to them, and helping it cross the finish line without losing that spark.
Is there something you think non-creatives will struggle to understand about your journey as a creative?
Absolutely. I think one of the biggest misconceptions is that being a creative professional is all about the craft itself. In reality, the business side demands just as much attention—things like communication, time management, branding, and client relationships. I know incredibly talented engineers who’ve struggled simply because they weren’t prepared for that part of it. It’s not enough to be great at the fun stuff—you also have to know how to run a business and build real trust with the people you work with. That balance between creativity and professionalism is something I’ve worked hard to develop over the last 5 years, and it’s played a major role in the growth of my business.
Contact Info:
- Website: https://alexanderwright.com/
- Instagram: https://instagram.com/alexwrightmastering
- Facebook: https://www.facebook.com/awmastering/
- Linkedin: https://www.linkedin.com/in/alexwrightmastering/
- Yelp: https://yelp.com/biz/alexander-wright-mastering-bellevue
- Other: https://credits.muso.ai/profile/6ebd5fa5-ecfd-2482-91c0-0e077017f5c1
