In other areas there are certain noises that are actually enhanced when they should have been reduced or eliminated. "There are hyper-compressed areas that have resulted in clippy digital artifacts. "It is pretty scary," Jones wrote in an e-mail interview with Ars. Jones, who mastered Flato's EP, was not impressed by Landr's take. Landr's version felt like the equivalent of someone going into a Li'l Jon track and grimacing at so much bass. The result nerfed all of the original track's intense, experimental qualities.
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Landr's version also drew out and isolated some buzzing, sinusoidal waves of noise that fit better in the professional master as a supplemental tide. Certain intentional artifacts that had been raised in the sound profile by the professional master, including a noticeable, tension-building rattle, were smoothed out by the auto-master. Landr forcibly extracted as many sounds from the intense mix as it could, all while smoothing and compressing the track to an incredible degree. Whatever Landr has cooking in its "micro-genre detection" algorithm failed to acknowledge that Flato's music lacks anything in the way of vocals, drums, rhythm, or even key changes. However, Landr's version of Flato's composition saved us some trouble. That leaves us with only one boring option: giving you, dear reader, our biased, subjective take on how a thing sounds to us. We have yet to buy a complicated rig of microscopic microphones to arrange in our ears, like some sort of piercing array you'd find on an extra in the film Tank Girl. Normally, this sort of testing is very dangerous territory. We instead queued up all three tracks-the two we received from Flato and the uncompressed result from Landr-on VLC, which supports very easy jumps to exact points in a song for listening comparisons. Flato's track has a very quiet ending, so this specific sample didn't do us much good. The interface includes an A/B test of a given song's final 30 seconds, split between the original file you upload and its mastered version. We opted for "medium," since that's the site default. Landr offered us "low," "medium," and "high" mastering presets without any explanation as to what was lower or higher about those options. That's a lot of sonic soup to put under the Landr microscope, which is when we realized he was an ideal choice to test Landr's bold claims about technologies like "micro-genre detection." At first, his combination of classical strings and woodwinds with intentionally deformed electronic effects didn't seem like a good fit.
The first music creator to respond to our public request for uncompressed audio was experimental "drone" musician Steven Flato of San Diego. If anyone thinks it's a good idea, they get what they deserve." Congleton laughed Landr off in no uncertain terms: "I'm not getting up in that shit. Vincent, David Byrne, Wye Oak, Okkervil River, and many more. The biggest-ticket response we got was from Grammy-winning engineer John Congleton, who's worked with St.
Landr takes on spacey drone and cyber-thriller technoīefore taking the service's new auto-mastering wares for a spin, we reached out to a few music creators, producers, and engineers for their thoughts. As a result, the company touts that "we're confident you'll hear the difference" between professional mastering work and what Landr can pull off.Īfter our tests of SoundCloud's new Landr functionality, we can safely agree with that statement-in every bad way possible. "Great design is all about limiting the field," Landr says. Landr's landing site describes the mastering process as "complicated and elusive," then insists that its product, which is almost entirely algorithm-driven, delivers a quality product for small-fry musicians by intentionally limiting how many options they can pick from. Landr flips its sales pitch by targeting music creators. We've seen plenty of products advertising instant audio benefits, from cords to pre-amps to DACs, which largely target music consumers. This news promises a different kind of audio-related snake oil than we're used to at Ars.
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SoundCloud users can now have their original tunes processed and "optimized" for free by Landr. On Thursday, the audio-processing company Landr (founded in 2014) announced its partnership with the hugely popular self-publishing music platform SoundCloud. Now, they're aiming their laser-guided sights at.
First, the robots came for our factory jobs, then for our fast-food jobs.
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