A fellow member of the PonoMusic community forum wrote, "I just read on The Absolute Sound website "AXPONA 2016 Show Report" that you've had the chance to listen to MQA recordings. We all know now what Steven Stone is thinking... what is your personal impression about MQA?"
It took me a moment to gather my thoughts, and here's what I replied: "I agree w/Steve... I came home from the show with a Brooklyn, Mytek's brilliant new DAC. MQA decoding is only one of a host of several kewl features. Thank you, Michal & Chebon!
I've been so busy I haven't had time to devote to listening critically to MQA for any extended period. I got the Brooklyn's firmware updated, confirmed that decoding is functional, and have gone back to writing my show report, getting other work done and actually having a life."
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Following Axpona 2016, the High End show in Munich was a decisive moment for Master Quality Authenticated (MQA). Click the photo to read all about it.
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I have been listening to the DAC every day, while I work, to better understand it's sonic signature or lack thereof. Since I have only a small collection of MQA-encoded content, around two-dozen pop, jazz, and classical tracks, it's been largely LPCM keeping me company.
I went on to add; "My initial impression is very positive." To that I'll add this: With a truly hi-fi system playing a recording that embodies high production values, MQA adds a delicate clarity. I then went on to qualify that statement, writing, "...MQA is only relevant to those who have a highly resolving system and/or are already able to discern the difference between an HRA file and a Red Book version of the same higher fidelity master. Otherwise, it's just another format that requires re-purchasing titles you already own. It's not, 'Dios mio, where has this been all my life?' It's more, 'Ummm, very nice. I'm liking this.' MQA's true potential will be realized with more born-digital music that has been created from start to finish with MQA in both recording and post. Not all the tools are in place for that to happen yet but I, for one, am hopeful."
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In our June 2016 issue of
audioXpress, we feature a complete article on "Master Quality Authenticated (MQA): Redefining the Source for Music."
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2L is one of the very few labels who have been either converting or creating content in the new format. Conversion is not ideal, as the temporal correction aspect of the process can only be estimated and/or applied after the recording has been made. As I mentioned earlier, some tools now in development will allow a wide range of genres and production styles, from musical theatre to pop, rock, country, and most classical and jazz, to take part 100% in MQA's benefits. I say that because virtually all music these days is created with a heavy amount of post-production, even jazz and classical. Very few titles are created in the audiophile vein of live recording with no dynamics processing and EQ during recording, and no editing and EQ in post. Most all of the new music out there is a chimera, created by the engineer and producer after initial tracking.
As I mentioned in my PonoMusic posting, I'll be writing something for audioXpress specifically on the subject of MQA, please stay tuned for that. Until then, remember: it's about the artists, their music, and performances, not the technology. MQA or any other technology cannot make a delicate quail from a terrible turkey. Too many modern artists need to actually learn to play their instruments and not rely on engineering to fix them in the mix.
