Let me repeat myself from this thread yesterday:
- MQA is "lossy" only in case of higher than 48kHz sampling rates. All the MQA tracks sampled at 44,1kHz or 48 kHz are using MLP compression, which is lossless.
- How many times have you complained about losslessness when you listened to a CD...
We have made a live studio recording for one of our albums in DXD, DSD256 and tape, live and fully analogue mixed. Recorded with a Merging Anubis and Pyramix for the highest possible stereo quality, with no post-production or mastering of any kind. We recorded the same live event with the same...
There are very few processes in audio which are lossless recursively, as you defined. Most of the CDs since the early, mid-nineties were mastered at 48k/16 or 24 bit and then converted to 44,1k/16 for the red book compatibility, so if the starting point for a CD is the original master, even a CD...
Apple (and Amazon) seems to be serious about being carbon-zero. Their last presentation in 2 weeks' time was at least very serious about it. So I would not discount this as a reason to acquire MQA (or part of it) by Lenbrook and license it in some form, to others. There are many possibilities...
Radio Paradise, as I see it is not a streaming service but an Internet Radio.
Otherwise, we do not have a clue why Lenbrook acquired and what they plan with MQA. Give them time, and I hope they have a plan which will be beneficial for all of us.
Amazon and Apple are very different cases as they sell hardware, and they use their streaming services to boost hardware sales. Apple has something like 20 billion USD in revenue from Airpod and earphones, and headphone sales. Way more than their revenue from streaming.
You oversimplify claims for sure.
One example:
- MQA is lossless in case of 44,1k/24 bit and 48k//24 bit as it uses MLP compression. So MQA has a loss (from a data point of view), only above 24 kHz sampling. Are you sure you can realise it in a listening test? I am not.
Is lossless really...
We, end users, have no direct relationship with MQA Ltd.
Absolutely nothing,
So they did not have to "provide a stupidity certificate" as you say or to convince us.
They had to convince their industrial partners and potential technology partners.
As roughly 20 million tracks are processed...
I do not think so.
I am sure it is challenging to convince Warner, Universal, Sony, XMOS, AKM, ESS, etc to spend money, time on developing, applying something which is an "objective lie" as you say.
Are you sure they are as stupid as you try to show them?
Thanks for the correction. I know it as we were experimenting with it, as Apple developers, for our experimental streaming app. It is not the API, as you mention properly, that makes integration with Roon possible; this is why I said there is no API (the right one) from them.
I am very sorry for my poor English....
The master is never in MQA.
The master is always PCM, sometimes in (native) DSD.
The PCM master is processed to become MQA. MQA is a distribution format, not a mastering one.
So, there is always a non-MQA version. However, it is the choice of the label...
Most music distributors do not allow the MQA process—only a (very) few do.
Netflix is using so-called shot-based encoding. It means an average 4k, 10-bit HDR thriller-drama episode shows the highest bitrate of 11.8 Mbps, a sitcom episode with less action shows the highest bitrate of 6.6 Mbps...
At this stage, nobody knows what Lenbrook want to do with the MQA assets and brand. You are right; the consumer can decide, but discarding any Lenbrook-owned product and brand seems to be a bit rich from my point of view.
As usual, I do not want to convince anybody. Just sharing my thoughts.
A few notes:
- Tidal shares what the labels or music distributors upload. I do not think they "convert" anything to MQA.
- I do not know precisely what happened while Apple is not using MQA in Mac OS, but after working with Apple for years, I think Apple did not want to license and integrate...
Those arguing against MQA seem to forget, that MQA is licensed by the labels (on the content side) and the 3 largest labels (Warner, Universal, Sony) plus a few very important, quality-oriented smaller labels like 2L, ECM, etc MQA processed roughly 20 million tracks and uploaded MQA tracks daily...
Our My Reel Club® label recently issued a double CD/file download (in DXD/DSD/PCM192k) and a high-speed tape (soon in Dolby Atmos and LP) of the same live studio concert: The Gabor Juhasz Trio (featuring Julia Karosi, and Tony Lakatos) plays its Planest album. Album 1 is the music mixed live in...
It is the Danley HRE, which was introduced as part of the Tom Danley Signature product line.
This is not a PA speaker, but a high-end audio one.
We have a prototype for a few weeks in Budapest. Using it for our My Reel Club™ recordings presentations mostly.
It is quite compact for the sound...
Using the Danley Hyperion (now called HRE) active speaker prototype for our Gabor Juhasz Trio: Planets live studio-recorded DXD/DSD jazz album presentation last weekend in Budapest. In the same studio where it was recorded. We could compare different versions of the recording to the live music...
Sure. :)
We have a home page, it will go public until mid-June or earlier.
I will be at the High-end Show in Munich too, so there is a chance to meet there on the first two industrial days.
After long break, caused by Covid, we restarted our My Reel Club™ studio recording events and started to build a new community. You can read about the first "new" My Reel Club™ recording on Medium...
Yes, you are right. The Studio 2 is not really sensitive where you put it. At least according to my experience. The Go2 is even less sensitive. Because of their very tight pattern control, and phase response, it is easier to find the right position for your speaker and for your listening...