No, not lossy ≠ lossless.Yes it does. Not lossy = lossless. That is literally the definition of it.
FLAC is a compressed, lossless format.
No, not lossy ≠ lossless.
FLAC is a lossless compression codec. It will put out what you put in, bit for bit.
But if the audio is irreversibly altered before lossless data compression, there is already loss.
Spotify seems to be the only service that has an issue with providing bit-perfect transmission of the actual master files, with everything being downsampled to 24/44.1 regardless of samplerate. None of the other lossless streaming services seem to have this problem.
Spotify is not lossless.
This is like me opening a stock photo repository where everything is available as a lossless TIFF file, except every image has been converted from a JPEG. The file format in use itself may be capable of losslessly containing something, but what they put in it does not fit that criteria.
As a musician we appreciate the extra money. As a fan of music, that would work if you listen to the same thing all the time, but streaming is a fantastic way to find new music.Not going to get Spotify premium and not going to given money to streaming - prefer to buy my own music with cds, LPs etc and urge people to do the same.
24-bit/44.1 kHz Is not lossless.
Far from it.
Hi, lossless is a factor of the compression algorithm used, not the bit or sampling rate.24-bit/44.1 kHz Is not lossless.
Far from it.
24/44.1 will only be lossless for recordings actually mastered in 24/44.1, which is probably not a great majority of them. And certainly not all of them, as higher sampling rates have become more and more common over the past 15 years - ESPECIALLY for reissues of older material recorded on analog equipment.Spotify IS NOT lossless now, indeed. They stream compressed content to the user. They're just about to launch loseless streaming which means they WILL stream original, not compressed content to the user.
What's your point, actually?
EDIT:
Actually they'll provide up to 24bit/44.kHz *FLAC*. It's explicitly mentioned in their announcement.
Crowded House’s “Don’t Dream It’s Over” might take the prize for bad Atmos mixes.That first gen back in 2020 was very bad because they automated conversions…
Quite right. Anything with a Bluetooth link in the chain is not going to deliver the bit rate needed. Even if you pull losses from Spotify's servers, it will be transcoded to a lower quality/bit-rate prior to transfer over Bluetooth.
There is a point, though, if you're not running over Bluetooth. Wired connections (digital and analogue) will carry lossless quality right through to your DAC and speakers.
Wrong! Loseless or lossy refers to compression method not quality of original content. You can both compress 24/44.1 or 16/44.1 (and many others). In case of loseless transmission you receive bit-by-bit same data as stored on Spotify servers (be it 24/44.1 or 16/44.1). In case of lossy transmission you receive similar but not identical data (artefacts, etc.) due to compression. It has nothing to do with source quality.24/44.1 will only be lossless for recordings actually mastered in 24/44.1
Not wrong! It’s almost as if you didn’t read anything that I said. Once the source has been irreversibly altered, it is no longer lossless. You can not convert an MP3 file to a FLAC file and then consider it to be “losslessly compressed” just because that is the compression method used.Wrong! Loseless or lossy refers to compression method not quality of original content. You can both compress 24/44.1 or 16/44.1 (and many others). In case of loseless transmission you receive bit-by-bit same data as stored on Spotify servers (be it 24/44.1 or 16/44.1). In case of lossy transmission you receive similar but not identical data (artefacts, etc.) due to compression. It has nothing to do with source quality.
You are wrong. Up- or downsampling does not make source material lossy. Because if that's your claim only mastering engineers and mixers have access to lossless music, because most source material is 32-bit (floating point) and 96 or 192 kHz. For the music listener that's a total waste of space, but in the studio the extra headroom makes sense. It gives you some slack when mixing and mastering. What Spotify does makes actually a lot of sense. 24 bit gives you enough dynamic range to record everything in between a mouse and a space rocket (16 is actually more than enough). The 44.1 kHz sampling rate comes from the era of CDs (16/44.1 kHz is the Redbook standard). Philips and Sony did not settle on 44.1 kHz because they just felt like it, but because it offers all the frequency bandwith you need to cover the spectrum of the human ear (20 Hz-20 kHz). Audiophiles will tell you they can hear way beyond 20 kHz and therefore need 48, 96 or even 192 kHz, but they're scientifically full of BS. Not a single human on the planet can hear beyond 20 kHz, we're not bats, dolphins, dogs or insects. Just Google the Nyquist theorem.Not wrong! It’s almost as if you didn’t read anything that I said. Once the source has been irreversibly altered, it is no longer lossless. You can not convert an MP3 file to a FLAC file and then consider it to be “losslessly compressed” just because that is the compression method used.
Ok. Now at least what you wrote is technically consistent and precise. You claim they Spotify can “cheat” and use compressed or altered in other way source. Sure, Spotify could do this just like any other service. I see no reason why Spotify would want to do this though. 1/ it’s auditable - for sure some clever guys will check it, 2/ Spotify doesn’t gain anything doing this - storage is cheap, throuput is expensive.Not wrong! It’s almost as if you didn’t read anything that I said. Once the source has been irreversibly altered, it is no longer lossless. You can not convert an MP3 file to a FLAC file and then consider it to be “losslessly compressed” just because that is the compression method used.
There is a lot here that is very, very incorrect. I am not sure where to even begin addressing it all. Do you even realize who you are speaking to?You are wrong. Up- or downsampling does not make source material lossy. Because if that's your claim only mastering engineers and mixers have access to lossless music, because most source material is 32-bit (floating point) and 96 or 192 kHz. For the music listener that's a total waste of space, but in the studio the extra headroom makes sense. It gives you some slack when mixing and mastering. What Spotify does makes actually a lot of sense. 24 bit gives you enough dynamic range to record everything in between a mouse and a space rocket (16 is actually more than enough). The 44.1 kHz sampling rate comes from the era of CDs (16/44.1 kHz is the Redbook standard). Philips and Sony did not settle on 44.1 kHz because they just felt like it, but because it offers all the frequency bandwith you need to cover the spectrum of the human ear (20 Hz-20 kHz). Audiophiles will tell you they can hear way beyond 20 kHz and therefore need 48, 96 or even 192 kHz, but they're scientifically full of BS. Not a single human on the planet can hear beyond 20 kHz, we're not bats, dolphins, dogs or insects. Just Google the Nyquist theorem.
Your claim higher source materials are great for older releases is laughable at best. You're being fooled. Really old stuff is mastered analog on tape that has seen some degredation. The source material therefore has a dynamic range of 12-bits at best and the higher frequencies weren't even recorded in the first place. Recording gear that records beyond 20 kHz is a lot less common than you might think. When they digitalize the old tapes they use the highest possible bit depth and sampling range for the headroom they need to properly handle the material in the digital world. So when you break the bank on that ultra high lossless album you're actually buying upsampled music. Is it lossless, absolutely. Does it sound good, probably. Do you need it? Absolutely not.
Actually, for 99,9% of the population your average lossy file is all they ever need. But that's a whole different can of worms I'm not willing to open ;-).
Apple Music on Mac is a joke. I can stop playback on macBook and send AM to background (with red dot) and left it unused for many hours/days. Still, when I start playback on iPhone, macOS shows pop-up with information that I cannot listen on two devices simultaneously. The only way to stop AM from displaying pop-up is to really close the app.Spotify interface is head and shoulders better than Apple Music. The Apple Music app on the Mac is terribly neglected. They deserve to lose that business to Spotify. I hope Apple prioritizes it. If they do, I might switch.
There are no Bluetooth codecs that can deliver high quality lossless audio.Bluetooth has supported lossless since 5.4 in 2023 (aptX Lossless and LE Audio) … 6.0 and 6.1 have released since.
While not many headphones are using such, Bluetooth being lossy is antiquated thinking. It’s no longer the case. Lossless is very relevant for some current and most immediate-future product releases. — Though iPhone 16 is Bluetooth 5.3 … 17 is Bluetooth 6, and therefore, fully lossless capable. It joins some Android phones that could already do lossless over Bluetooth since 5.4 (highres since Sony’s LDAC on 5.3, which Apple never supported, but some Androids did).
Anyway, point is, thinking of Bluetooth as inherently lossy is outdated by about two years.
horribleApple Music on Mac is a joke. I can stop playback on macBook and send AM to background (with red dot) and left it unused for many hours/days. Still, when I start playback on iPhone, macOS shows pop-up with information that I cannot listen on two devices simultaneously. The only way to stop AM from displaying pop-up is to really close the app.
Apple keeps such stupid bugs unsolved for YEARS. It's so irritating.
There are no Bluetooth codecs that can deliver high quality lossless audio.