Why does Tidal sound better to my ears?
Aug 21, 2019 at 12:43 PM Post #33 of 86
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This is it on Tidal in the US
 
Aug 22, 2019 at 6:04 PM Post #34 of 86
Aug 22, 2019 at 6:08 PM Post #35 of 86
There is very little money to be made by artists on most streaming services. Even after the US legislated that they must pay a decent amount (which they are of fighting) it is not enough for most bands to give up their day jobs.

https://www.theguardian.com/music/2013/oct/11/david-byrne-internet-content-world

Yup. Though some artists have/are holding out for better deals. That only works for the most popular artists that have leverage though - everyone else is getting hosed.
 
Aug 22, 2019 at 9:14 PM Post #36 of 86
Yup. Though some artists have/are holding out for better deals. That only works for the most popular artists that have leverage though - everyone else is getting hosed.

So another reason Tidal sounds better to me, is they pay the artist considerably more than nearly all the other streaming services. It isn't a specific sonic benefit, it just feels better.
 
Aug 23, 2019 at 7:44 AM Post #37 of 86
There is very little money to be made by artists on most streaming services. Even after the US legislated that they must pay a decent amount (which they are of fighting) it is not enough for most bands to give up their day jobs.

https://www.theguardian.com/music/2013/oct/11/david-byrne-internet-content-world

Yes but things change/the world changes. How many did actually earn money on selling records 50(or more) years ago? How much money did Beethoven earn? Not many. The 70's, 80's and the 90's was huge for selling records and many artists got very wealthy because of this. I am not saying that artist's should earn money on what they create but the world is different today. Artists needs to think different today to earn money and what Matallica did with the Black album won't happen again.
 
Aug 23, 2019 at 1:01 PM Post #38 of 86
In the 30s and 40s, musicians made money performing live. Records weren't where the money was. They were loss leaders to bring people in to the live shows.
 
Apr 6, 2020 at 3:14 PM Post #39 of 86
I used to be a Tidal subscriber but then switched to Qobuz last year. I made the switch because I didn't like (the idea of) the MQA standard for high rest steaming. I have actually both Tidal and Qobuz at the moment and they're both fine.



Depends on the recording I suppose. I like lossless streaming quality because it gives me some sort of peace of mind. I'm not going to spend thousands of dollars and then save 10 or 15 dollar a month on the quality of the music I'm listening to. 20 or 25 dollars a month is still ridiculously cheap to
i there a difference in sound between lossless and Tidal premium
 
Apr 6, 2020 at 7:41 PM Post #40 of 86
i there a difference in sound between lossless and Tidal premium

Between lossless and Tidal premium? Kinda, sorta. Depends on what you use to listen and how you listen. At work, where I use the iFi Hip-Dac -> SendyAudio Aiya, the difference is not enough to notice. At home, when it's quiet and I'm using my absolute best equipment (which in all fairness is a Topping D50S -> Schiit Loki -> Koss 95X), then maybe I can tell the difference between a track now and then. But not every track and I have to know the track very, very well.
 
Apr 6, 2020 at 8:33 PM Post #41 of 86
In the 30s and 40s, musicians made money performing live. Records weren't where the money was. They were loss leaders to bring people in to the live shows.
Yep...one of my friends has managed(some pretty big)bands since the early 80's.... i remember him saying "there's no point touring if you don't have an album to promote"....the business has changed a few times over the years...the Stones still pull some heavy coin from a few concerts a year though:)
 
Apr 6, 2020 at 9:52 PM Post #42 of 86
T shirts are where the money's at.
 
Apr 7, 2020 at 6:42 AM Post #43 of 86
Yes but things change/the world changes. How many did actually earn money on selling records 50(or more) years ago? How much money did Beethoven earn? Not many. The 70's, 80's and the 90's was huge for selling records and many artists got very wealthy because of this. I am not saying that artist's should earn money on what they create but the world is different today. Artists needs to think different today to earn money and what Matallica did with the Black album won't happen again.
Many artists were screwed in the 70s, 80s and 90s and ended up with little or nothing to show for it including international stars. Bay City Rollers is one of many. At least with streaming fringe artists can get a look in.
 
Apr 14, 2020 at 6:16 AM Post #44 of 86
[1] How many did actually earn money on selling records 50(or more) years ago?
[2] How much money did Beethoven earn?
[3] The 70's, 80's and the 90's was huge for selling records and many artists got very wealthy because of this.
[4] I am not saying that artist's should earn money on what they create but the world is different today. Artists needs to think different today to earn money ...

1. No idea and it depends on what you mean by "many" but there were quite a few and some made serious fortunes.

2. A salary of just under 4kg of gold a year, roughly $200k at today's prices, plus considerable income from publishing contracts and concert performances. So he was pretty wealthy compared to the average worker.

3. Not just from the 1970's but many decades earlier, pretty much the whole of the C20th. From the early 1900's to his death in 1921 Caruso made (very roughly) $30m in today's money, solely from his recording contracts/royalties. By the "70's, 80's and the 90's" many more artists were earning millions from recording and even in the 1960's some were earning more per year from recording than Caruso did in his entire life.

4. The world is different today and artists do "think different today to earn money", they either don't become recording artists in the first place or they rely on sources of income other than recording.

In the 30s and 40s, musicians made money performing live. Records weren't where the money was. They were loss leaders to bring people in to the live shows.

Thant's not entirely true. There was a great deal of money in Records in the 30's and 40's, some artists made fortunes from selling records and relatively little from live performances. Bing Crosby being the most obvious example.

[1] Many artists were screwed in the 70s, 80s and 90s and ended up with little or nothing to show for it including international stars. Bay City Rollers is one of many.
[2] At least with streaming fringe artists can get a look in.

1. The Bay City Rollers made a fortune but they effectively (inadvertently) gave it all away. Many artists were screwed badly but pretty much all of them earned at least the average living wage and most a great deal more, even though that was still way below what they were due.

2. Depends on what you mean by "a look in", exceedingly few earn an average living wage from streaming music recordings and even the top artists earn a fraction of what the prior top artists earned.
-----------------------------

For many decades, the records were where the money was and live performances/touring was just promoting the albums. Today it's the other way around, the recordings are the promotional material for the tours, which is where the money now is. The "rock and roll star" is dead, replaced by the "celebrity" lifestyle. This is obviously bad for audiophiles, potential talent is no longer incentivised because you can't gain fame and fortune as a recording artist and far less money is invested in creating albums that are only promotional material for the real money making product.

G
 
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Apr 14, 2020 at 5:16 PM Post #45 of 86
modo stuff
At the risk of sounding like a broken record. If you guys wish to continue that conversation, consider making a thread for it. Yes it's interesting, but it also clearly has no business being developed in this thread.
The sooner you do the right thing, the sooner I'll stop nagging, deleting stuff and killing discussions halfway through.
 

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