We Need To Talk About Ones And Zeroes
Several well-respected audiophiles in this forum have stated that the sound quality of hi-res streamed audio equals or betters the sound quality of traditional digital sources.
These are folks who have spent decades assembling highly desirable systems and whose listening skills are beyond reproach. I for one tend to respect their opinions.
Tidal is headquartered in NYC, NY from Norwegian origins. Qobuz is headquartered in Paris, France. Both services are hosted on Amazon Web Services (AWS), the cloud infrastructure services giant that commands roughly one third of the world's entire cloud services market.
AWS server farms are any audiophile's nightmare. Tens of thousands of multi-CPU servers and industrial-grade switches crammed in crowded racks, miles of ordinary cabling coursing among tens of thousands of buzzing switched-mode power supplies and noisy cooling fans. Industrial HVAC plants humming 24/7.
This, I think, demonstrates without a doubt that audio files digitally converted to packets of ones and zeroes successfully travel thousands of miles through AWS' digital sewer, only to arrive in our homes completely unscathed and ready to deliver sound quality that, by many prominent audiophiles' account, rivals or exceeds that of $5,000 CD transports.
This also demonstrates that digital transmission protocols just work flawlessly over noise-saturated industrial-grade lines and equipment chosen for raw performance and cost-effectiveness.
This also puts in perspective the importance of improvements deployed in the home, which is to say in the last ten feet of our streamed music's multi-thousand mile journey.
No worries, I am not about to argue that a $100 streamer has to sound the same as a $30,000 one because "it's all ones and zeroes".
But it would be nice to agree on a shared-understanding baseline, because without it intelligent discourse becomes difficult. The sooner everyone gets on the same page, which is to say that our systems' digital chains process nothing less and nothing more than packets of ones and zeroes, the sooner we can move on to genuinely thought-provoking stuff like, why don't all streamers sound the same? Why do cables make a difference? Wouldn't that be more interesting?
I don't think its a great mystery that noise rides on grounds, clocks control the timing of data packets, the lengths streamer manufactures go to address these issues is part of what differentiates streamers.
Perhaps those noisy server farms are indeed limiting the full potential of high end audio streaming, somewhat analogous to the quality of the power grid and it's influence on our systems. May not matter as much for streamers since ethernet is galvanically isolated from grounds noise. |
Well I guess the hearing demigods amongst us should band together and buy these streaming services and make sure everything is sent through a vacuum to their home untouched. That is the only way they can hear the imperfections that are riddled in music cos the music is made with impure mics, impure tools like noisy controller stages. This obsession in this space has gone beyond just wanting to enjoy music so I engage less and less with people with certain supposed ideas cos it can become a loop of argument. I just let people be now @devinplombier |
Did we ever move past the question: Why does one vibrating stylus in a groove of vinyl sound different than another? Has anyone asked for proof how different turntable setups sound different? Or does everyone just accept that they do? Why don't all 300b tubes sound the same? It's all just a flow of electrons. |
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