Maybe swapping that super smooth parallel Fabfilter compression for a 100% wet blueface 1176, with all four buttons in for some grit. Or about backing off that lead vox compression attack time, and ramping up the ratio. Or why you might be better off looking at making the guitars fight more with the lead vocal. Truly CriticalĪnd LANDR and other automated systems can’t advise you on which huge bass lines are gonna disappear in mono club systems. At once astoundingly simple and utterly complex. The inter-relationship of mixing and mastering can be mind boggling, Even with an experienced ear and determination, it’s a weird learning curve. It wasn’t without some crying in my beer.
#Landr mastering algorithm how to
I remastered them a year or two later when I’d pulled the wizard’s curtain and figured out how to master as well as I could mix – by referencing objectively. Fact is, the emperor was just plain bollock naked Maybe he thought he had ‘golden ears’ or the mega-bucks monitors guaranteed insight. My big name mastering wizard didn’t deign to reference the tracks I took.
I learned the hard way as an artist how little some (even stellar) mastering engineers care sometimes … and how mediocre the results can be. Some big names in the mastering world may need to up their game. But it will not outperform the new breed of mastering engineers who can mix well … as long as they reference properly It might also outperform the sort of mastering engineers who learnt their trade on great mixes that were trivial to take credit for polishing. What i understood clearly from supervising Will’s work was this: But it can outperform even some well established mastering engineers as shown clearly in Will Russel’s paper. LANDR has few to no big credits currently. I predict that will remain the case – as the best demand the best. That’s why it is remain cheap as a service. The team behind LANDR at Queen Mary’s have done some important and impressive work, but algorithms couldn’t care less how you want it to sound. But LANDR doesn’t understand your artistic intentions. Many of us mastering engineers use parts of Ozone. LANDR is a very smart algorithm that delivers masters with various EQ and loudness options – through adapting Izotope Ozone parameters. A mix or mastering engineer’s ability to hear through a mix – based on experience – is closer to witchcraft than harmonic FFT frequency analysis.
But anyone that’s ever tried EQ match in Izotope hoping it will magically transform their mix into a blockbuster knows all too well that’s not what happens. It just establishes where the frequency & loudness data lie and applies enough control to sit your track in that average. Automated mastering has zero scope for this creative judgement – it doesn’t know anything about what sounds good, or how those great masters and mixes it is trained with were actually made. When do you use which? If you can’t hear the difference blind in an a/b test, you should not be charging to master or mix tracks. Then there’s the phase distortion of legendary analogue EQ like the beautifully Softube modelled Summit EQF 100 above vs killer high-end linear phase transparent EQ like DMG Equilibrium. Mix & mastering engineers need to know our harmonic distortion elbows from our enharmonic backsides – One shimmers, one is mostly just unmusical screech
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