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  1. What a big mess these double standards, and not even from the same master - but both MQA? He shows a video where his MQA DAC is jumping in between samplerates within the same album ... probably this is what the artist intended, as the blue MQA dot is active 🤣 I wonder if the FLAC version also has different sample rates between the tracks from The Wall, which used to be one my favorite albums in the 90's. I even went to the Pink Floyd concert in Belgium, which had surround effects! They were years ahead. Used to be a big fan at the time. Yes indeed: https://www.prosoundnetwork.com/archives/pink-floyd-quad-concert-desks-to-be-auctioned
  2. It's remarkable he is no longer ridiculing FLAC: The lossy MQA and lossless FLAC versions are the same price. https://www.highresaudio.com/en/album/view/9nx89c/pink-floyd-the-wall-2011-remastered-version
  3. As a side (hobby) project, I recently started with software emulation of famous synths including the Roland Jupiter 8 and the Fairlight CMI (known for the T2 soundtrack, and the CMI has it's fair share of aliasing artefacts due to down pitching over several octaves), and I'm also looking into DAW software packages and VST plugins. A long time ago I used the Amphion One 18 speakers for critical listening to an MQA DAC (a Mytek Brooklyn) and found it to strip certain raw qualities in female voices - which were present in the DXD files from 2L.no, but not in the MQA versions. These days my nearfield setup is based on the same speakers, but now with a Metrum Adagio DAC without the MQA module & a NAD eigentakt power amp (EISA winner). Diffusors as seen in the picture is a DIY test project based on a shape which cannot be crafted using traditional manufacturing. Then looking around for what is available in the plugin / VST scene, when you google "MQA VST plugin" it seems there are NO plugins for music creators to hear the impact of the MQA encoding. There are tons of VST for every possible effect that music creators want to apply, but there is no MQA VST so how can a mastering engineer or music creator hear the different encoder settings in realtime? Also a lot of 80's and 90's music was created on the Fairlight CMI, which has audible aliasing which is part of the specific sound signature of the machine. This effect is shown at 07:44 and can be heard in the official T2 soundtrack in many instances: How will the sound of 90's instrument such as the CMI interact with a lossy format, which has it's own share of aliasing in the end-to-end process? It's remarkable that only the T1 soundtrack is in Master quality on Tidal, while I did not find the T2 one. Curious how MQA will handle tracks which already have audible aliasing as an effect. Will it neutralize the existing aliasing? Will it make it worse? More research is needed ;) But as we do not have a VST plugin, that research will be extremely hard. And if someone tries to upload test signals with added samples of the fairlight CMI being played at a lower octave (which triggers the aliasing as shown in the above video) to distrokid, there's a risk the file will be taken down on Tidal. Those samples could be easily obtained from a redbook CD containing the T2 soundtrack.
  4. OMG comparing different DSD rates to upsampled PCM, and not realizing that MQA x4 or MQA x8 is just upsampling from 88.2K or 96K in the renderer.
  5. Regarding the deliberate crippling by dithering / adding noise / band limiting the signal during the MQA encode step to 17/96 at best, I found an actual ground breaking article how such damage could potentially be undone: https://petapixel.com/2021/08/30/googles-new-ai-photo-upscaling-tech-is-jaw-dropping/ Why is this tech interesting? Their upscale tech is based on a trained model which has learned from the deliberate crippling of the signal by adding noise until only pure noise remains, and knows how to do the inverse: MQA encoding adds noise to the signal, and in testing and reported by many, subjective micro detail / low level ambience is lost after decoding compared to real good old PCM. Unfortunately MQA cannot accomplish what google can, as MQA's renderer is merely a modified upsampler and lacks the processing power to undo the damage introduced by MQA's band limiting encoder. If MQA becomes the only dominant 2ch audio distribution format and we have lost real PCM, someone with AI skills can probably undo some of MQA's damage, and sell such solution, therefore being a "problem - reaction - solution": https://ai.googleblog.com/2021/07/high-fidelity-image-generation-using.html?m=1 First video demo in the google link is mind boggling.
  6. Once again, our well known influencer keeps spamming old "unscientific" HB videos, in an attempt to educate his audience: He probably has a list of canned articles he keeps spamming. In his failed attempt of debunking GoldenSound, HB has admitted he can only guess, and this video example is a simulated example of time smear and more proof of the same. HB can only guess how mQa tries to correct this, as mQa has never provided before- and after files or has explained the process: Still waiting for scientific proof ...
  7. Denying access to certain content because of contractual requirements, even though the device is capable of playing the content, is a form of DRM. Here the R in DRM obviously stands for both "restrictions" and "rights". It reduces your rights by denying you to listen to regular PCM and restricting you to the mQa versions. mQa is managing your rights. And then on the HB site, we found this quote: Furthermore, mQa contains a CAS system, as it requires a decoder to access the pseudo high-res part of the data, and without a licensed decoder you get a crippled version which sound less than redbook.
  8. What a funny paradox by HB, but I can at least confirm those among the club winning best of show in Munich, do not use MQA at all to reach this award. We personally asked several reviewers. Seen in the secret mQa group: I remember the same paradox with SACD vs CD all the way back in early 2000. PS: not convinced about the shift in cross-over point: https://www.aes.org/e-lib/browse.cfm?elib=19396
  9. Propably the isolator is not fully compliant with USB standards (or the combination of the isolator with his cables) and is messing with bits which will confuse the mQa decoder. I once had something very similar with an iFI USB power plant and a dual USB cable from another brand: with regular PCM there would be not so subtle dropouts, but with their own dual cable it would not occur. From this perspective mQa works as designed. I actually keep a Mytek in stock for this purpose. It's an easy tool to visually confirm bitperfect output of music servers.
  10. Now we need a blue light on record players, when an MQA record is being played .... Lossy++
  11. The fact that this question is being raised ...
  12. The problem with the GPL is that the data processed by GPL tools, is not protected by the GPL. It only protects the software, not the data. Adding MQA to existing open source players is clearly wrong: https://www.musicpd.org/commercial.html
  13. Amir has a HDCD backstory: https://www.audio “science” review/forum/index.php?threads/mqa-bad-for-music.1378/page-2#post-36197 Amir's team got the HDCD light working, but it was actually fake, not doing any decoding: Even more interesting is the fact that foobar has an actual open source HDCD decoder: https://git.lopez-snowhill.net/chris/foo_hdcd which was also used for ffmpeg: https://hydrogenaud.io/index.php?topic=112225.0 https://opensource.com/article/20/7/hdcd
  14. Is Mansr no longer active here? Looking around on ASR, this post is interesting: https://www.audio “science” review/forum/index.php?threads/tidal’s-new-lossless-tier-says-goodbye-to-mqa-but-does-it-really.22968/page-9#post-769891 https://distrokid.zendesk.com/hc/en-us/articles/360059827614-How-I-Can-Send-My-Music-in-TIDAL-Master-Quality-MQA- The sausage machine for $17.99 per album ...
  15. 1. why did Apple, Amazon HD, Qobuz and many others chose NOT to implement mQa? 2. a new world which is based on the old world? How is that possible 5. for 1X rate sources such as 24/48 and 24/44.1, the encrypted part of the file does not compress well with flac, so it's actually not saving Tidal any bandwidth, whereas Qobuz would be saving bandwidth serving the non-encrypted 24/48 or 24/44.1 flac 6. MQA CD and those batch encoded Tidal redbooks into MQA CD versions, are using upsampling on several decoders .... To dig a little bit deeper why MQA cannot defeat information theory, we must look at signals which do not fit in MQA's dithered 17/96 decimation triangle. Which brings us back to this research: https://www.cco.caltech.edu/~boyk/spectra/spectra.htm Trumpets: Cymbal crashes just don't run out of energy in the ultrasonics, and thus have content outside MQA's encoding triangle, and the ultrasonic energy in case of a cymbal crash is 40%: If MQA would be able to decimate to 17/192 and store all of that into a 24/48 distribution file, and after unfolding the > 48 Khz analog spectrum would be preserved instead of being replaced by upsample noise from the second unfold, that would be ground breaking. But MQA can't beat Shannon and information theory still applies.
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