DimitryZ
pfm Member
The wind continues to blow relentlessly.Did anyone read Darko's take on the current controversy over MQA?
https://darko.audio/2021/04/tidal-forks-mqa/
He tries hard to sit on the fence - which anyone who has read posts from both sides in this thread will know is really hard as long as fault lines go along ...
- lossy vs lossless
- origamied music file vs the full audio file
- subjectively perceived sound quality (equalised "secret soup" MQA file vs "straight" open FLAC file)
- no access to MQA source file vs open format FLAC = source file
- MQA = DRM locked vs FLAC = free from DRM
- MQA as extra layer in the great music chain that takes a cut vs FLAC = no extra payment asked
- MQA's claims to be Master Quality when you can't access or revert to the original master file vs FLAC as a faithful copy of the master file
- MQA's claim to be benefitial for the artists vs do they get paid more for how MQA "improves" their original studio work?
- MQA's claim to get the listener closer to a live performance by their MQA process vs what the original recording sounded like when it was taped/captured live with no MQA process added
- MQA's refusal to enter into an open discussion of what MQA is and why we need it vs attempts to have full disclosure of those points
- MQA secrecy vs FLAC openness
And there is no DRM in MQA. It can be freely copied. Like many formats it requires equipment to play. By your twisted definition, even 8-track tape and Edison cylinders have DRM.
Do we really know if the LPCM file available for streaming is a "faithful copy" of the master file? We have no such certainty.