Mastering Wild and Woe for Kingflower was a full-circle moment. Garrett Langebartles and I go way back—we grew up together, and reconnecting over this project felt like picking up right where we left off. He had just built out his home recording studio in Indianapolis and was diving headfirst into crafting his own sound. When he reached out, it wasn’t just to catch up—he wanted me to handle the final polish on his debut release.

From the jump, we weren’t just talking about EQ curves and compression settings—we were breaking down the deeper artistry of mixing and mastering. Those conversations became just as valuable as the music itself, pushing both of us to refine our approach and think more intentionally about how sound translates into emotion.

Garrett put his trust in me to bring this record home, and I took that responsibility seriously. I approached every track with care, making sure the final product felt cohesive, warm, and alive. There’s a special kind of pride that comes with working on a friend’s project—especially one this personal.

This wasn’t just another mastering job. It was a milestone—both for Garrett as an artist and for me as an engineer stepping deeper into the world of mastering. Wild and Woe set the tone for what’s possible when creative trust and technical precision meet, and I couldn’t be prouder of how it turned out.