This week, ASCAP announced an unexpected partnership with one of the most controversial platforms in the modern music industry, LANDR. Along with the announcement comes backlash from many audio professionals who derive at least a portion of their income from mastering services.
While many are seeing this partnership as a money grab by ASCAP through some type of profit-sharing deal, it might just be the start of a new wave of thinking in an industry desperate for a new business model. This could very well be the beginning of artificial intelligence and machine learning affecting the music industry’s approach to production.
While many are seeing this partnership as a money grab by ASCAP through some type of profit-sharing deal, it might just be the start of a new wave of thinking in an industry desperate for a new business model. This could very well be the beginning of artificial intelligence and machine learning affecting the music industry’s approach to production.
What is ASCAP?
ASCAP, which stands for The American Society of Composers, Authors and Publishers, is a member-owned and operated performing rights organization (PRO). It is the oldest PRO in the US, and alongside BMI & SESAC acts as a liaison for songwriters and publishers to collect performance royalties when their songs are used.
ASCAP collects a one-time $50 fee for songwriters to register, which is a small price to pay considering the amount of work that goes into monitoring and policing venues across the country to make sure royalties are being paid out correctly.
Once you’re registered, ASCAP begins monitoring commercial use of your music and distributes your royalties accordingly, minus their “operating expenses”.
ASCAP collects a one-time $50 fee for songwriters to register, which is a small price to pay considering the amount of work that goes into monitoring and policing venues across the country to make sure royalties are being paid out correctly.
Once you’re registered, ASCAP begins monitoring commercial use of your music and distributes your royalties accordingly, minus their “operating expenses”.
What is LANDR?
LANDR is one of the first online mastering services to allow users to upload their music and hear a mastered song just minutes later. While the processing involved is proprietary, we do know that this lightning-fast mastering happens automatically - likely through computer analysis, algorithmic deduction, and instant application.
Essentially, LANDR is trying to eliminate human error from the mastering equation. It’s fast, affordable, and simple to use, which makes it pretty obvious why the mastering engineers with years of training and experience are seeing it as a threat.
LANDR’s current subscription services are offered in 4 tiers: free, basic, advanced & pro.
Essentially, LANDR is trying to eliminate human error from the mastering equation. It’s fast, affordable, and simple to use, which makes it pretty obvious why the mastering engineers with years of training and experience are seeing it as a threat.
LANDR’s current subscription services are offered in 4 tiers: free, basic, advanced & pro.
Free
The Free Tier offers two free “MP3 Masters” each month. Each mastered track has a limited bit rate of 192kbps, which is laughable to most professionals, but not too far from streaming quality on the majority of YouTube uploads or early streaming services.
Basic
The Basic Tier offers Unlimited low-resolution (192kbps) MP3s for $4/month. Mastered files at a higher quality can be purchased on a track-by-track basis.
Advanced
The Advanced Tier is the tier recommended by LANDR for most new users. For $9/month you get access to high-resolution (320kbps) MP3s. This resolution is exactly what most HD-streaming services play back at, and will be almost indistinguishable from Pro Quality by regular listeners.
Since MP3 is a lossy compression method, you’re still going to hear most audio professionals snicker at the fact these guys are trying to charge for digitally compressed audio and calling it a “master”.
Subscribers in the Advanced Tier also receive 30% off standard, uncompressed WAV bounces at 16-bit, 44.1Hz (CD Quality). This discount drops the price to $6.99/track.
Since MP3 is a lossy compression method, you’re still going to hear most audio professionals snicker at the fact these guys are trying to charge for digitally compressed audio and calling it a “master”.
Subscribers in the Advanced Tier also receive 30% off standard, uncompressed WAV bounces at 16-bit, 44.1Hz (CD Quality). This discount drops the price to $6.99/track.
Pro (aka The Only Tier Worth Paying For)
The Pro Tier is unlimited everything for $25/month, which is actually an amazing value even if you’re only doing a song or two each month.
In the Pro Tier, you get unlimited low-resolution & high-resolutions MP3s, unlimited CD Quality WAVs & even unlimited HD WAV files (24-bit). Realistically, you’re going to want to use one of your two WAV options at all times to avoid audio degradation during the mastering process.
In the Pro Tier, you get unlimited low-resolution & high-resolutions MP3s, unlimited CD Quality WAVs & even unlimited HD WAV files (24-bit). Realistically, you’re going to want to use one of your two WAV options at all times to avoid audio degradation during the mastering process.
The Case for the Mastering Engineer
You’ll notice that all of LANDR’s pricing is based around tracks, which is actually an important distinction to be made between traditional mastering and modern mastering.
A big piece of a mastering engineer’s job is to match levels and create consistency between tracks on an album. Things like timing, crossfade & more all have to be taken into consideration.
With LANDR, you’re stuck with the new industry mentality where a single song is what is to be mastered. Album continuity might be possible with some post-processing, but trying to upload 30+ minutes of music as a single file to LANDR isn’t going to give you the results you want.
A big piece of a mastering engineer’s job is to match levels and create consistency between tracks on an album. Things like timing, crossfade & more all have to be taken into consideration.
With LANDR, you’re stuck with the new industry mentality where a single song is what is to be mastered. Album continuity might be possible with some post-processing, but trying to upload 30+ minutes of music as a single file to LANDR isn’t going to give you the results you want.
The ASCAP/LANDR Deal
ASCAP members are getting a hybrid of these plans, with a very specific (and smart) approach. Members will have access to the Basic Tier with unlimited low-resolution MP3s. They’re not what I’d consider professional at that level, especially if the member is looking for label-quality music.
In addition to the benefits of the Basic Tier, ASCAP members will receive one monthly HD WAV.
Dangle the carrot in front of the horse, and the horse will move.
In other words, give them one HD WAV master and they’ll want more. And they’ll pay for more, because we’re an impatient bunch that doesn’t want to wait on one track per month, though that model seems to be working for plenty of musicians on YouTube.
In addition to the benefits of the Basic Tier, ASCAP members will receive one monthly HD WAV.
Dangle the carrot in front of the horse, and the horse will move.
In other words, give them one HD WAV master and they’ll want more. And they’ll pay for more, because we’re an impatient bunch that doesn’t want to wait on one track per month, though that model seems to be working for plenty of musicians on YouTube.
So Who Should Pay for LANDR?
LANDR’s current setup is ideal for the DIY musicians and songwriters, which is why their partnership with ASCAP makes a lot of sense.
The mastering engineers will never want to endorse a platform like this, because it’s putting them out of business. As a mixing engineer/producer, I think it’s great. I can offer my services & mastering without the hassle of sending the files off and waiting for them to come back (plus the time it takes if/when revisions are needed).
Is it going to replace the training and care taken by the professionals? Only time will tell – we’re only at the beginning of seeing what machine learning is capable of.
While I’m not anticipating an easy transition to automated mastering, I do think there’s some great opportunity for audio engineers and programmers to develop these platforms together. The more input today’s professionals have in the technology, the faster it grows and the more accurate it becomes.
The mastering engineers will never want to endorse a platform like this, because it’s putting them out of business. As a mixing engineer/producer, I think it’s great. I can offer my services & mastering without the hassle of sending the files off and waiting for them to come back (plus the time it takes if/when revisions are needed).
Is it going to replace the training and care taken by the professionals? Only time will tell – we’re only at the beginning of seeing what machine learning is capable of.
While I’m not anticipating an easy transition to automated mastering, I do think there’s some great opportunity for audio engineers and programmers to develop these platforms together. The more input today’s professionals have in the technology, the faster it grows and the more accurate it becomes.
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