Frankfurt Mess!

I have hardly had time to recover from another edition of Musikmesse and Prolight+Sound 2016 and catch up on all the announcements and what we have seen there - and it was plenty. So, was it worth? Indeed. But I couldn't help returning from Frankfurt with an uncomfortable feeling and the clear perception that this was the worst Musikmesse and Prolight+Sound ever. I will elaborate because there are lessons to be learned.

Following the announcement by the UHD Alliance of the Final Specification for Ultra HD Premium content, at CES 2016, the organization announced the “Ultra HD Premium” Logo and Certification Licensing for Ultra HD Blu-ray Disc Players, coinciding with the first releases of UHD Blu-Ray Discs, which should also support high dynamic range (HDR) images and immersive audio experiences.

Returning from ALMA International Symposium & Expo (AISE) and CES 2016 show in Las Vegas - both extremely enlightening and motivating - we felt motivated to write about high-resolution audio (again). HRA was the main theme chosen for AISE 2016 – “Hi Res Audio: A Bridge To Build Or A Bridge Too Far?” – debated in all possible perspectives in an insightful and constructive manner.

The Recording Industry Association of America (RIAA), in cooperation with The Digital Entertainment Group (DEG) and The Recording Academy Producers & Engineers Wing announced they would be adopting a new logo to promote the adoption of high-resolution music. This is different from the original High-Resolution Audio logo… Is there any logic in this?

audioXpress has published some really interesting stories about new audio companies, born out of their founders’ imagination, creativity, and deep convictions on their own designs. Crowdfunding helps to convert ideas into successful products and create new businesses. But the crowdfunding route is also full of valuable marketing lessons on what should not be attempted.

Some speaker designers approach their creations based purely on self-acquired knowledge and research, deliberately trying to distance themselves from existing trends and debates. Others, base their work on team efforts, industry partnerships, and sometimes market-oriented options. These are the people who I’ve started to categorize as the Wizards and the Cooks.

I promised to come back to Apple’s announcement of Beats1 Worldwide Radio as part of its Apple Music service. From one perspective, it is a great promotional idea—not much different from those great video ads Apple puts out. It will certainly stimulate awareness for traditional radio and Apple can afford to spend the money. So, no harm done. But that’s it.

"Bring your own music or we’ll have to play Norah Jones”: That’s exactly how I felt this week while watching that “one more thing” moment during Apple’s Worldwide Developers Conference (WWDC) 2015 keynote presentation in San Francisco, CA, probably one of the most anxiously awaited moments for the music industry and certainly for every audio enthusiast.

Some audio manufacturers seem to be following the same familiar paradigm regarding file distribution and streaming audio as they have previously done with physical media formats. The problem is, in areas such as media players, servers, DACs and the like, the audio industry no longer dictates the rules.

Working in conjunction with the cross–platform PonoMusic World application, PonoRevealer enables real–time playback comparison of lossy and lossless versions transcoded from the same HRA parent. As I’ve said before; if you can’t hear a difference, it only means you are not able to hear a difference, your ancillary playback gear is subpar, or you’re refusing to admit that which you cannot explain.