The more it handles clients music, the better it gets at it. Landr’s mastering algorithm is self-taught. It simply relies on computer algorithms to work on songs presented by clients, mastering them to give the best results in the genres they choose. This mastering platform does not use sound engineers working over the cloud.
It is targetted towards helping people with little or no knowledge of mastering to finish their tracks cheaply and easily and to achieve the highest quality possible. Using the Paragraphic Equalizer as a de-esser and a low-shelving EQ helped to tame some mud and other frequencies that can be problematic on certain systems.Ĭheck out Damien Jurado’s Ozone 4 session here.Landr is a mastering service that is designed to make the task of mastering your music fast and easy. Anticipating that this track would most likely be listened to on laptop speakers, I used some mid-side compression to bring out the center of the mix just a little bit more. Mid-side compression allows users to compress the center of their mix, or the edges, independent of each other. An impressive function of the multiband compressor is the ability to compress in stereo, as well as mid-side. From there, I added some light multiband compression with a fast attack to tame some of the snaps and clicks from the acoustic guitar.
After applying the stereo imager, and tweaking the individual bands, the track sounded infinitely wider and much more open.
Often times, tracks like these can end up sounding almost mono. Having used just one microphone each for Damien’s guitar and vocal, and a direct line from his guitar, it can be difficult to create any space in the stereo field. When using Ozone 4 to master the Damien Jurado tracks recorded here in our offices, one of the most useful functions of the plug-in was the Multiband Stereo Imager. This can be useful when mastering a 24-bit project for CD at 16 bits. Once users have achieved their desired sound, an impressive set of dithering algorithms awaits, allowing users to dither their projects to 24, 20, 16, 12 or 8 bits. Ozone 4 provides various methods for “finding your way back home” after such creative exploration with various bypassing, reset, cancelling, and compare functions. One can find themselves tweaking and customizing until it leads them to a sound that might not be what they were looking for. With all of these features and options, it can be easy to get lost in all of it. For example, you can put the EQ pre- or post-dynamics, or you can move the Harmonic Exciter pre- or post-Stereo Imaging. One impressive feature is the ability to customize your signal chain. Users can also create and store their own presets within the preset manager for use in later sessions. The preset manager can also be undocked from the main window so that you can modify modules within the presets, without switching between windows. Each preset utilizes a combination of any or all of the six modules and then provides additional controls in the preset manager, such as loudness, character, punch and shine. The new “hyper presets” offer users a quick way to finalize their tracks and provide more experienced users with a great jumping off point to take their sound even further. When first opening Ozone 4, users are greeted with the Preset Manager.