![]() ![]() ![]() Most importantly, it can’t tell you to go back and fix your mix! It doesn’t even know what genre your track is in. It can’t tell if the excess energy at 200 Hz is the characteristic warmth of a rich fretless bass, or vocal mud that needs to be cut. It can’t know whether occasional high frequency bursts are vocal sibilants that demand de-essing, or cymbal crashes. #SOUNDCLOUD LANDR PROFESSIONAL#The algorithm will get better over time, but it can never replace a professional mastering engineer, because it lacks musical understanding. To be fair, LANDR is an incredibly ambitious project! It’s amazing that it performs as well as it does. There are huge tonal and volume differences between masters at the same intensity level, relegating LANDR to one-off singles. Speaking of which, try playing the three LANDR high intensity samples one after the other. Would they sit together nicely on the same album? No way! Regardless, LANDR has no way of knowing that it’s a ballad, and therefore doesn’t require the same RMS level as a club track on the same release. This track might have sounded better at the default medium intensity, but I ran out of credits. The “quiet” part sounds just as loud, if not louder, than the “loud” part! In this case, I find the LANDR version to be ridiculously bright, edgy, and essentially unlistenable.Īlso note the break at 0:13 where it’s supposed to drop off in volume and build back up. This cover was pulled off an old DAT recording for a rarities and remixes release. ![]()
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