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In Reply to: RE: Many reasons... posted by Doug Schneider on October 29, 2016 at 14:12:03
... no one knows their plans, but because MQA is a transmission format I think they're aiming toward transmission.
Follow Ups:
Yes, transmission. However that does not necessarily mean a transmission to consumers.
As a business case remastering a major's entire catalogue in MQA over a period of a few months makes little sense. Most of those several million tracks are certainly not scheduled, or are even dreamed of, being commericially re-released. If they are to be re-released then this would have to be done gradually ( you don't release 10 million tracks in one hit). In this scenario conversion to MQA would be best tied to the release schedule. This makes more sense and would not tie up resources for converting tracks that will inevitably have limited appeal and limited ability to earn any financial return i.e. they will stay on the shelf.
Streaming services differ in the sense that they do want access to entire catalogues. However there is not any high rez ( in an MQA sense) service yet in existence. The take up of CD resolution services is so far limited and they have yet to prove themselves as economically viable. I believe that any business considering converting its entire inventory in one go to service such unproven ventures would be irrational.
However international majors like Warner have a huge need to distribute repertoire internally to its operational units across the world for all sorts of reasons not all of which will result in a release or supply to e.g. a streaming service. Perhaps Warner plans are for internal purposes rather than for anything that will necessarily be available to the public?
From my record industry days I remember leaving a meeting and walking back to my office with a senior industry lawyer. This was at the time of CDs's introduction. Having gone hook line and sinker for the "perfect sound for ever" pitch, the lawyer questioned why the industry would want the public (effectively) to have access to its masters. I reckon the same thinking still exists with many record company executives and would be applied by them to MQA.
" However there is not any high rez ( in an MQA sense) service yet in existence"
Classicsonlinehd has many files streaming at 24/96 to 24/192
Of course they are dropping all labels except those owned by Naxos. Too bad
Alan
In Reply to: RE: So in other words ... posted by PAR on October 29, 2016 at 16:06:39:
" " However there is not any high rez ( in an MQA sense) service yet in existence"
Classicsonlinehd has many files streaming at 24/96 to 24/192
Of course they are dropping all labels except those owned by Naxos. Too bad
Alan"
I think that I could have phrased it better if I had just said " using MQA". Still I think that the point about unproven economic viability is still pertinent and the scaling down of Classics Online supports this. As a simile, apparently 83% of Spotify's revenue is dissipated in royalties and other outgoing costs. As Classics Online is owned by Naxos and if they now only have repertoire from the Naxos family of labels, then the cost of some of the royalties (those to publishers are artists remain) is removed. It also must reduce the cost of storage and administration.
It's too bad that Naxos found it necessary to do this but, as I have pointed out elsewehere on AA, some download suppliers have also found it necessary to take roughly similar action although in their case it was reputedly mainly caused by storage and bandwidth costs.
I was listening Qobuz yesterday with a close friend who works at one of the majors " enjoy it while you can" was his view.
Regards
Pete
Of all the labels I have looked at with a hires FFT, Naxos is the worst for having TV Monitor breakthrough on their files. This is at around 15kHz where a very sizeable spikes above the noise floor can create digititis sounding music.
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