Hi,
I would like to see an article, series of articles, or perhaps a column that deeply explores the subject of MP3s, FLAC, and digital delivery of music.
As a 6 year user of products such as the Logitech Squeezebox range of products, I have not spun (except for ripping to my server) a silver disc in over 5 years.
I would like to see articles explore topics like these:
1. MP3 vs. Lossless. I, like every good audiophile, always use FLAC for ripping my CDs. But, I also buy MP3s from Amazon.com and am generally pleased with the results. For example, I like obscure modern jazz from around the world. Sometimes these titles have poor or no distribution in the US and the import CDs will cost $30 or $40 dollars! I simply will not pay these sums for a single album. These same CDs can sometimes be had as MP3 files for less than $10 and can immediately be downloaded. I have been trained to understand by the press, fellow audiophiles, etc that I missing something when listening to these files and yet when I listen I still enjoy the music? I wish Stereophile could explore this phenomenon and apply some real scrutiny to the subject not just audiophile dogma. Is there a way using differential analysis ala the Bob Carver Amplifier Challenge to see exactly what's gone missing in MP3 files? I believe John Atkinson did something similar when comparing SACD re-masters such as Dark Side of the Moon compared to the original CD releases and found some interesting results. Why has Stereophile never interviewed the principal researchers at the Fraunhofer Institute to fully understand how MP3s came to pass and sparked the digital online music revolution? It would seem there is still a lot to be told and learned here.
2. Along the same lines, there have been a lot of questions asked in forums about the provenance of higher than CD quality files available from such places as HD Tracks. In the early days of CD there was a pretty standard labeling system that described exactly the provenance of a particular CD (Analog Recording, Digital Master, etc.). With today's downloads, there is no standard and the consumer is left to wonder exactly what one is buying?
3. With bandwidth speeds going up and price for this bandwidth leveling off or going down, why is the sale of lossless music not more ubiquitous? Why does Apple and Amazon not offer lossless (FLAC, etc.) and as an optional download. When given a choice I always buy the FLAC version if the price differential is not too absurd. Why would record labels not want to offer lossless to show off their product in the best possible light and also maybe make a little bit more money over the MP3 offering?
4. It would be interesting to see interviews with the creators of WMA and OggVorbis encoding. Why did Microsoft buy the Pacific Microsonics HDCD technology and how does it affect WMA techonlogy? It is sometimes thought that WMA, OggVorbis, and AAC are next generation encoders and are better than the original MP3 process. It would be interesting to read if this the case and why.
5. I have started to see some of what I consider the worst subjective aspects of audiophile reviewing creep into the reviews of the new digital streaming products. I blame ignorance of computer technology on the part of the reviewer. For example, some reviewers (I'm not mentioning Stereophile reviewers here just making a generalization) make assertions that USB cables and hard drives make a difference in the sound quality of these systems. I feel this is a carry over of the endless debate about analog cable sound differences but does not have a place in a fully digital transmission system. Since I have a background and work history in the computer industry, I am pretty firmly convinced that usb cables and hard drives do not make a difference in sound quality and that bits are bits. They are either transmitted correctly, or if not, the result is grossly obvious to hear and is not subtle. I feel this is an example of built in institutional bias of some reviewers that is highly misleading to their readers.
These are just a few ruminations on this topic but I think Stereophile has the opportunity to make a real mark on this subject and uncover some new ideas and dispel some old myths.
Thanks for the consideration.
-CB
Hi,
I would like to see an article, series of articles, or perhaps a column that deeply explores the subject of MP3s, FLAC, and digital delivery of music.
As a 6 year user of products such as the Logitech Squeezebox range of products, I have not spun (except for ripping to my server) a silver disc in over 5 years.
I would like to see articles explore topics like these:
1. MP3 vs. Lossless. I, like every good audiophile, always use FLAC for ripping my CDs. But, I also buy MP3s from Amazon.com and am generally pleased with the results. For example, I like obscure modern jazz from around the world. Sometimes these titles have poor or no distribution in the US and the import CDs will cost $30 or $40 dollars! I simply will not pay these sums for a single album. These same CDs can sometimes be had as MP3 files for less than $10 and can immediately be downloaded. I have been trained to understand by the press, fellow audiophiles, etc that I missing something when listening to these files and yet when I listen I still enjoy the music? I wish Stereophile could explore this phenomenon and apply some real scrutiny to the subject not just audiophile dogma. Is there a way using differential analysis ala the Bob Carver Amplifier Challenge to see exactly what's gone missing in MP3 files? I believe John Atkinson did something similar when comparing SACD re-masters such as Dark Side of the Moon compared to the original CD releases and found some interesting results. Why has Stereophile never interviewed the principal researchers at the Fraunhofer Institute to fully understand how MP3s came to pass and sparked the digital online music revolution? It would seem there is still a lot to be told and learned here.
2. Along the same lines, there have been a lot of questions asked in forums about the provenance of higher than CD quality files available from such places as HD Tracks. In the early days of CD there was a pretty standard labeling system that described exactly the provenance of a particular CD (Analog Recording, Digital Master, etc.). With today's downloads, there is no standard and the consumer is left to wonder exactly what one is buying?
3. With bandwidth speeds going up and price for this bandwidth leveling off or going down, why is the sale of lossless music not more ubiquitous? Why does Apple and Amazon not offer lossless (FLAC, etc.) and as an optional download. When given a choice I always buy the FLAC version if the price differential is not too absurd. Why would record labels not want to offer lossless to show off their product in the best possible light and also maybe make a little bit more money over the MP3 offering?
4. It would be interesting to see interviews with the creators of WMA and OggVorbis encoding. Why did Microsoft buy the Pacific Microsonics HDCD technology and how does it affect WMA techonlogy? It is sometimes thought that WMA, OggVorbis, and AAC are next generation encoders and are better than the original MP3 process. It would be interesting to read if this the case and why.
5. I have started to see some of what I consider the worst subjective aspects of audiophile reviewing creep into the reviews of the new digital streaming products. I blame ignorance of computer technology on the part of the reviewer. For example, some reviewers (I'm not mentioning Stereophile reviewers here just making a generalization) make assertions that USB cables and hard drives make a difference in the sound quality of these systems. I feel this is a carry over of the endless debate about analog cable sound differences but does not have a place in a fully digital transmission system. Since I have a background and work history in the computer industry, I am pretty firmly convinced that usb cables and hard drives do not make a difference in sound quality and that bits are bits. They are either transmitted correctly, or if not, the result is grossly obvious to hear and is not subtle. I feel this is an example of built in institutional bias of some reviewers that is highly misleading to their readers.
These are just a few ruminations on this topic but I think Stereophile has the opportunity to make a real mark on this subject and uncover some new ideas and dispel some old myths.
Thanks for the consideration.
-CB