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  1. I believe Sony are distributing for other countries and I have been made aware that those versions are ok it seems it’s a Warner issue in Europe but Tidal seems to have got a clean version for all territories though which is the puzzling part
  2. I believe the European release by Warners has effected both MQA and FLAC PCM the error is clearly noticeable on Qobuz and Amazon in the UK too, what a mess and a bit of embarrassment for such a high profile bands hi res releases. Dark Side Of The Moon allegedly has mixed sample rates too giving rise to bad segues when the DAC switches between them
  3. This is mQa’s only way through if the majors feed these files to other companies do we know which titles have been given out, the only ones I know are 2L with Morten being pro mQa?
  4. It’s 40 minutes long if you want to stick it out
  5. I came to the this forum looking for answers, sometimes people can get heated in the debate but the wealth of info about MQA opened my eyes, yes I did go down the route of MQA for 18 months but I just wasn't comfortable with it and from the RMAF debacle and the shilling that went on Facebook sites only made me realise that the ultimate goal was to create a “one cap fits all” approach to file control giving no one any choice, restricting quality unless you pay the organ grinder for the keys to make so called better. The placebo effect is a clever thing it had me for a while but I got out, you can recreate better sound from standard free files if you want to, just use DSP / other filters and room treatment, the beauty of this you control it instead of being told this is what you should be listening to. Tidal have big issue now and with Spotify on the cusp of going lossless the mass market will be on a true PCM FLAC or ALAC, creating a monopoly on file control is not good for the consumer or new emerging technologies going forwards.
  6. All eyes on China, more from Bob on 9/9/21 https://www.eventbrite.co.uk/e/music-ally-china-digital-summit-in-association-with-mqa-tickets-165239073517?fbclid=IwAR0KY-vDTzzXHrD_0x4AX9nPoZjxAYSAZGb37rmTFtE3AMqpUrwWxnfjYHk Grab a pot of your best coffee 😁
  7. It’s a long haul but here is Bob doing the “technical stuff” on you tube, probably nothing that hasn’t already been discussed
  8. I know Mr Fripp can be a pretty strict with control of his archival content I wonder if he had any say in these releases ? https://www.hmv.co.jp/news/article/2107051011/?fbclid=IwAR3cdPo9rftvczAtKw5McfsQXUMU1lIVwm0q3v88vXty_Us48EozOXrL65E
  9. That’s always been my concern, MQA don’t allow you to A/B compare any of the file conversions (2L aside) take the 1,000’s of 16/44.1 red books from Warner’s and now Sony you are fed the replacement without being able to objectively compare sound quality, the closed shop environment used just questions any validation of the system as no one can judge it for themselves, and “just listen” doesn’t cut it
  10. Completely agree crap recordings mixed and mastered that way are just gonna sound terrible regardless of the kit it’s gonna be thrown at and no doubt the more revealing the system is the worse it gets. No amount of specialised filtering will save it or revive it
  11. Looking at the latest exported Tidal data there are approx 3500 MQA items that are only 16/44.1 released in the last week that have Sony / Columbia as it’s copyright
  12. I must take a look to see if they are doing the same and converting 16/44.1 versions through the sausage machine like Warner did
  13. They may have wanted to keep it quiet too
  14. Looking into the mQa fan page it’s seems to have been supplied to them directly, nothing in the press as yet which seems strange
  15. That line has so many connotations 🤣
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