![]() This, lead multiple record majors to start remixing their existing catalogs for object-based audio, allowing future distribution in any existing and future surround and immersive formats. ![]() And in an effort to differentiate even more their streaming distribution offerings, Amazon was the first company to also propose music content remasters for Dolby and MPEG-H immersive, object-based audio formats (Dolby Atmos or Sony 360 Reality Audio, for now) - Amazon obviously calls it "3D Audio". Services like TIDAL and later Qobuz, have benefited highly from that process.Īmazon was late to the game, but seems determined to lead the way since the introduction of its Amazon HD streaming service supporting FLAC (lossless) streaming, which includes both CD-quality and 24-bit High-Resolution Audio (HRA) files. While they where at it, they also reinforced the remastering efforts of their existing analog jewels in order to have the best possible High Resolution Audio masters available. With MQA entering the market in 2015, many studios and record labels had another stronger reason to rework their catalogs in order to correct all the many mistakes of the early 16-bit/44.1kHz masters, hindered by really poor quality converters. Record companies have been doing this for a long time, in a process that has been promoted by early digital distribution services like Apple iTunes, which required always 24/96 masters, even when if Apple doesn't distributes the High-Res files or streams to consumers. ![]() Remastering efforts of existing analog masters and many early digital recordings are the typical material that benefits the most from a remastering process using the latest available converters and mastering techniques (usually involving removing tape hiss, wow and flutter, and improving the analog to digital conversion process in the case of early CD masters), bringing those to update 24-bit/96kHz masters (at least). ![]()
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