![]() The AI approach helps us solve the problem like a machine would – for a more faithful emulation. Re-creating an ‘analog-style’ signal path in DSP is thinking about the problem like a human. To get a computer to behave in a certain way, it helps to think like it does. I have been doing it for years and it takes a long time to develop an ear(s) for it. But the reality is that ‘analog’ and ‘digital’ are two fundamentally different domains. What are the alternatives for LANDR audio mastering - Quora Answer (1 of 2): Thanx for the A2A Orlando. This process may sound overly digital for a plugin that brings an analog sound. Once these differences have been learned by the AI, we can apply them to new audio. LANDR now has an accompanying free sampler plugin that makes it easy to port LANDR samples over to your DAW. ![]() It’s got well over a million samples from the best sample makers in the game. processed audio and teaching it to identify the exact characteristics that make up the difference. If you haven’t checked out LANDR’s sample marketplace you definitely should. This happens by feeding an algorithm various training data of dry vs. Where a normal DSP emulation would entail ‘guesstimating’ the effect of various analog components and their mutual dependencies, we can use AI / neural networks to accurately decipher the sonic characteristics that make a tape machine sound and behave in the way it does. It just needs to be used genuinely and with a legitimate purpose.įor a hardware emulation project like TAIP, AI offers an alternative (and in our opinion more faithful) approach over the traditional DSP method. But we believe it’s the future of music technology. I think LANDR has its uses I just dont know what. ‘AI’ is an overused - and often misused - term. I compared to my mastering attempts with free plugins and I preferred those. Resizability: Fully resizable plugin window.Color Modes: Switch between black, gray and white background colors.Auto-Gain: Lets you add more drive while keeping a consistent plugin output.Input: Lets you distort the signal more - or less - without affecting the output level.Wear: Recreates the instabilities of a worn-out tape machine and subtly alters the tape speed. ![]() Presence: Brings back the brightness that gets lost on tape recordings.Noise: Adds more tape noise – or removes it entirely.Glue: Exaggerates the compression effect that naturally occurs in tape recordings.Lo / Hi-Shape: Saturates the low/high end more or less than the rest of the frequency spectrum.Model: ”Single” brings you one tape emulation, while “Dual” combines two tape machines in a series under the hood.Or combine the “Wear” and “Mix” parameters to create tape flanging. Drive: TAIP’s most important parameter - add a subtle touch of warmth or extreme saturation (or anything in between).Oh, I believe they have a free week-long demo. Especially if your other option is something like Landr. Obviously doing it with a pro is better, spending time to really learn mastering is better, but if you’re okay with the idea of mastering just adding a bit of polish, I think Ozone Elements works. And, you can tinker with sounds and find different options much more easily than resubmitting to a site like Landr. You also have the software you’re not paying track by track. It’s not nearly as advanced as the higher level Ozone products, but it seems to be able to get you comparable results to these auto-mastering services. Or, if you’re the type who’s okay with presets, you have a lot to choose from. Some of the advantages I considered are that it can apply an algorithm to get you to a starting spot, but then you can tinker with eq and compression after. Its $130 (goes on sale from time to time). I eventually decided on buying Ozone Elements. ![]() While I ultimately went weith neither of these services, I wanted to chime in to get you an alternative perspective. I was recently debating this with an album I finished up a few months ago.
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