The writing might seem to be on the wall for MQA, the format developed to allow higher-resolution music to be delivered over limited-bandwidth internet connections while also promising to ‘unfold’ its content into a perfect facsimile of what the artist – or at least the record label – intended. Launched back in 2014 by Meridian Audio, and spun off into a separate company, the format arguably failed to gain the expected traction among the music industry, and last year the company went into administration, its assets being bought last Autumn by Canada-based NAD/Bluesound parent Lenbrook.

However, there was one area in which MQA seemed to have found itself a toehold, streaming service Tidal using it since 2017 to deliver high-resolution music on its platform, both for direct streaming and for download. As the only service of its kind to support MQA, Tidal became a flagbearer for the format, and users equipped with MQA-compatible audio systems could benefit from high-resolution music even with modest internet bitrates.

But it seems all that has changed: Lenbrook has announced that it plans an MQA-based streaming service in conjunction with US-based hi-res music platform HD Tracks, and now Tidal has confirmed plans to favour the open-source FLAC audio format for its hi-res content. From July this year, users will find FLAC files replacing MQA both on the streaming service and for files downloaded for offline listening, the replacement occurring when users update to the latest version of Tidal’s software.

The company says that, ‘Starting July 24, 2024, you will no longer be able to access music in MQAs via any TIDAL application or integration. FLAC was chosen as the format we’ll support going forward because it is open source – meaning any artist can deliver their music in high quality directly to TIDAL without the involvement of a third party. This makes it easier for their fans to experience music in the highest possible sound quality on all their devices.’

It adds, ‘We are working hard to ensure all existing MQA tracks will be replaced with a FLAC version in a timely manner.’

Tidal has also sidelined the Sony-developed 360 Reality Audio immersive sound format it had been using, and will standardise on Dolby Atmos, saying this was ‘chosen as the format we will support going forward due to the number of compatible devices, catalogue availability, and artist adoption of the format. Through our continued partnership with Dolby, we’ve given artists the opportunity to expand on their sonic vision, allowing their fans to experience their music like never before.’

Users with 360 Reality Audio files stored in their offline libraries ‘will see the track or album greyed out and unavailable for streaming.’

On the face of it, this will be good news for most users, in that Tidal is adopting more universally available formats, and promises that ‘We have no further plans to change our audio format offerings going forward.’ And it should also be noted that Tidal has also restructured its pricing, bringing the cost of its service to £10.99 a month including all formats – lossless, high-resolution FLAC and Dolby Atmos – and that it claims to have more than 110 million tracks available (which is also what main rivals Apple Music, Qobuz and Spotify claim). However, it does highlight one of the dangers of putting all your music eggs in one basket: users have no certainty that a streaming service might change the technology it uses, or indeed the range of content on offer, for commercial or legal reasons, leaving those subscribed to a service in the lurch when it comes to compatibility with their audio equipment, or the availability of favourite recordings.

As ever, the advice remains to do some close investigation of the service(s) in which you’re interested, trying them using the trial offers available to see which has the kind of music catalogue you require, and don’t be surprised if you need more than one of them to give the complete coverage you want. Oh, and to have your own music library on local storage, so you can be sure that those favourite recordings gathered over the years are also available via your streaming system.

This article originally appeared in the September 2024 issue of Gramophone. Whether you want to enjoy Gramophone online, explore our unique Reviews Database or our huge archive of issues stretching back to April 1923, or simply receive the magazine through your door every month, we've got the perfect subscription for you. Find out more at magsubscriptions.com