I believe this Le Bon quote illustrates the case with MQA.
Early on, some, not all, mastering engineers (many big names were supportive) were worried about MQA taking away their fees for mastering for different formats so they were natural MQA enemies. As well, some competing and far less successful codec designers on the then Computer Audiophile were jealous. This formed an unholy alliance that really added a lot of confusion, misinformation, and to be fair some elements of truth on some things and they created a tidal wave (no pun intended
) of ill will toward MQA. And honestly I feel that Chris Connaker knew his website was benefitting from the MQA religious war on traffic as well so moderation was not neutral. I did my best to counter some of the criticism of MQA on that forum but I was subject to endless personal attacks and was banned twice.
On the other hand, you had well-regarded technical people at the major labels who approved it for distribution. You also had two very good guys in Robert Harley and John Atkinson whjo listened to the sonics and found it to be an improvement. Separately Peter McGrath started using it on his recordings and found it valuable.
One can certainly disagree on the authentication process of MQA but the fact is MQA never implemented any evil digital rights management. And it was clearly a mistake for MQA to not explain at the launch that the process was audibly lossless and not purely lossless.
It’s like our national politics in many ways. Things and people are deemed “controversial” but when you dig into the actual facts, you find there is a genuine contrarian opinion with merits to its argument.
I can only urge members here to have an honest listen and decide for themselves.
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