In the end, we cut out the mixing to focus on mastering because we found that consumers were less likely to let go of their favorite DAW (Pro Tools, Ableton, etc.). When we started building LANDR, we wanted to offer an AI-based mixing environment as well as a mastering environment. When we look at the creative process, the DAW is at the center of it. This all leads us to look for simpler audio plug-ins and intuitive ways to curate samples for them to produce music more efficiently. We also want to minimize the amount of information creators need to read to finish their music and make money from it. We want to make it easier for creators to learn so they can stay focused on the creative process, without getting caught up in technical stuff. What we are trying to do is empower music creators and connect them with other creators. Now, mastering is not something you do when you are finished with a song, but something you should do to evaluate the progress or state of a song. And surprisingly enough, we created mastering as a subscription.a process you repeat often. So the fact that the service was near-immediate was a big deal for them. They found LANDR useful because they could make changes to their songs from one night to the next and have a mastered product ready to go without waiting on an engineer. Within six months of launching, many producer-DJs got in touch with us. Our goal was to provide something for the majority who can’t afford mastering because they don’t make money from music. We never tried to attract sound engineers. But many musicians who had previously hired sound engineers or tried to engineer music themselves were receptive to LANDR’s audio quality and affordable price point. When we started, sound engineers were skeptical. The positive sentiment has been steady for a few years, but now we’re seeing that AI mastering is becoming fully accepted for specific purposes. In the end, what we launched what much different than the original product. Truthfully, it took me a few years to understand consumer reactions to LANDR and what specific creators liked and didn’t like. I have also always been a fan of high-quality music production and sound systems, so mastering-the process of getting a product to the highest quality-was attractive to me. So my technical background enabled me to move into a new domain. From there, I started the company with two other guys, one of them being the lead researcher who moved from the UK to Montreal. And (b) was that since the product existed, I could judge it from a technical perspective, as well as present it to people and see how they reacted. From a mathematical standpoint, it’s identical to what we do at LANDR.įrom a building blocks standpoint, what made me consider LANDR was (a) that the technology, the core technology, which was prototyped at the Queen Mary University of London, already existed. The difference is that the information mastering describes isn’t the health or functioning of a product-it's the signal that you're going to be listening to. Weirdly enough, mastering is also signal processing. It had to do with signal processing and how you interpret those signals with respect to product design and manufacturing. In these jobs, I was building software systems that were close to electronics.
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