Considering the limited customisation options and the overall lackluster result, the idea that you’d pay £49/y for the most basic plan (where you have to pay extra to download particular file-types) is… I’ll be generous and call it audacious. Price should be a major sticking point for the discerning music producer. I suspect I know why, but we’ll get there a little later…
LANDR’s master itself leaves a little to be desired, and many have noted that whilst it has a nice body to the lower end of a track, the upper register feels thin, even reedy, and really out of balance with the lower end. Its options for bulk-uploading files are handy, it offers an online collaboration function, and there is even a feature to allow you to master a whole album, ensuring the mastering is consistent throughout. Its minimalist GUI is certainly a simpler beast to operate than even something like Logic Pro X. It’s undoubtedly an easy piece of software to use, though. Not exactly a wide range of options for the artist looking for a unique sound. Custom style options that you can configure, but the range of options is the choice of two sets of three buttons: warm, balanced, or open, and low, medium, or high intensity. The whole point of the software, after all, is to make the mastering process more straightforward by letting the computer do the hard work - but how much creative decision-making do you have to give up for LANDR’s ease of use? Rather a lot. 
LANDR asks the artist to relinquish most of its control and trust that the AI knows best. So far, so high-tech, but what can an artist do with the tool?
It boasts that the software is always getting better thanks to behind-the-scenes learning algorithms. LANDR’s cloud-computing software is based on research done at the Queen Mary University of London into automated audio mastering algorithms.
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