MQA in administration

DomT

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That just means that Dolby aren’t quite as greedy with their proprietary play as MQA was. I’ve seen no actual demand from real people for Dolby Atmos audio recordings, in a similar manner to there being no demand for the various sorts of Quadraphonic sound a few decades ago for those who remember.
Dolby Atmos is principally for films and gaming etc. from a purely music perspective it makes no sense to me IMG_1927.png
 

rdale

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Dolby Atmos is principally for films and gaming etc. from a purely music perspective it makes no sense to me
Nope, Dolby Atmos for music doesn’t make any sense to me either and probably doesn’t make sense to anyone else on this forum.
 

Steveh

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Nope, Dolby Atmos for music doesn’t make any sense to me either and probably doesn’t make sense to anyone else on this forum.
Just listened to their demo of "What's goin' on"(Marvin Gaye). switching between stereo/Atmos.
Atmos appears to create a depth of soundstage by "layering"(?) the instruments and voices which to me is wholly artificial and thus unrealistic.
My Chord Qutest gives a realistic soundstage depth, but not by "layering", just by resolving what is there anyway.
 
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nomore landings

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That just means that Dolby aren’t quite as greedy with their proprietary play as MQA was. I’ve seen no actual demand from real people for Dolby Atmos audio recordings, in a similar manner to there being no demand for the various sorts of Quadraphonic sound a few decades ago for those who remember.
Hi,

Flew to Tokyo and Osaka in the 1970s and hifi shops were stacked with behemoth amps with 4 VU meters. Kenwood, Sansui amongst the usual suspects. Quadraphonics failed like DVDa, Betamax etc for the same reasons. They had different codecs/formats and were mostly incompatible.
The few demos i managed through sign language didn't do it for me, although in Feb 1972 had heard Pink Floyd live with their very impressive Quadraphonic PA. Richard Wright's synths whizzing around the venue sent the head spinning as much as a lung full of second hand whacky baccy.
got last minute tickets as Bowie had cancelled at the Lanchester uni music festival and PF subbed! £1 a ticket. The DSOTM and other lunatics prequel tour- one of 92 concerts played that year honing the songs. Practice makes perfect.

just had a listen to a jazz MQA cd. Unfold to 24/352.8. Sounds superb to my ears but what do I know, it appears to be as rare as a stuffed dodo in Mauritius
 
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rdale

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Hi,

Flew to Tokyo and Osaka in the 1970s and hifi shops were stacked with behemoth amps with 4 VU meters. Kenwood, Sansui amongst the usual suspects. Quadraphonics failed like DVDa, Betamax etc for the same reasons. They had different codecs/formats and were mostly incompatible.
The few demos i managed through sign language didn't do it for me, although in Feb 1972 had heard Pink Floyd live with their very impressive Quadraphonic PA. Richard Wright's synths whizzing around the venue sent the head spinning as much as a lung full of second hand whacky baccy.
got last minute tickets as Bowie had cancelled at the Lanchester uni music festival and PF subbed! £1 a ticket. The DSOTM and other lunatics prequel tour- one of 92 concerts played that year honing the songs. Practice makes perfect.
I used to have a pair of Celestion Ditton 15s at the front with a pair of Celestion Counties at the rear connected in the pseudo Quadraphonic ‘Hafler mode’ in about 1972 I think. I suppose I thought that Quadrophonic was going to be the next big thing, until it was obvious it wasn’t going to be.
 

nomore landings

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I used to have a pair of Celestion Ditton 15s at the front with a pair of Celestion Counties at the rear connected in the pseudo Quadraphonic ‘Hafler mode’ in about 1972 I think. I suppose I thought that Quadrophonic was going to be the next big thing, until it was obvious it wasn’t going to be.
Celestion Ditton 15s were my first speakers, bought in 1973. Kept for a decade.
 

tuga

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JustinTime

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As per a few comments above, I'm not sure I see the point in Atmos: maybe I'm suffering from AtmosFear.
 
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nomore landings

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I have a Dolby Atmos Soundbar - The Yamaha YSP5600, linked to a wireless sub. With the right movie it's very good. That scene is Forest Gump where he runs back into the jungle to get his mate, with the explosions and bullets whizzing by is jaw dropping.

Got it linked to a wireless sub.

Don't think they make them any more; https://www.avforums.com/reviews/yamaha-ysp-5600-dolby-atmos-soundbar-review.12447/
Agree. Just moved house and my previous AV is boxed up in the garage. Never used Denons Atmos capability. Bought a new telly from RS which came with a free LG soundbar. Sceptical and was going to move it on, but much better than expected. Added wireless rears to the wireless sub. 25 years of AV amps and speakers were fun but life moves on.

edit to add: grateful for nudge to set up properly. During the moving in mayhem, the rears were placed wrong way round. Played some of those YouTube demos including DTS.x and even more impressed. the lady of the house never enjoyed the full on power of AV and the soundbar is very well received and aesthetically pleasing. It even does MQA allegedly 😄
 
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bencat

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MQA not dead and buried.
Lenbrook
But I think I can hear the last knockings . Given that they only really have NAD as a brand and they are not exactly world leaders how are they going to leverage and push their codecs and treatments in to the current music chain ? Tidal was the flagship streaming output for most of their MQA files and these are now being removed and replaced with HiRes files . Any studio or Label that wants to use MQA is going to have to pay a license fee to use it and it has little added cachet left after very public slagging off regarding the quality .
 

psi310398

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I had assumed that there were constituent parts or bits of code that would be attractive to them to be cannibalised into something proprietary in the headphone or sound bar line rather than marketing the MQA unaltered.
 

nomore landings

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But I think I can hear the last knockings . Given that they only really have NAD as a brand and they are not exactly world leaders how are they going to leverage and push their codecs and treatments in to the current music chain ? Tidal was the flagship streaming output for most of their MQA files and these are now being removed and replaced with HiRes files . Any studio or Label that wants to use MQA is going to have to pay a license fee to use it and it has little added cachet left after very public slagging off regarding the quality .
A number of brands use BluOS including Bluesound, Roksan, Cyrus, Dali , Monitor audio &Polk, plus Radio Paradise has a BluOS only stream. Time will tell. At least users of compressed Bluetooth can look forward to a new codec that allegedly raises the bar. The USA &Canada market for NAD is substantial as a popular brand. I suspect that California alone would exceed the UK.
 
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