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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