Here is a download of the MQA remastered title track to “The Blue Planet”.
Here is a download of the MQA remastered title track to “The Blue Planet”.
Here’s a link to the Google doc worksheet that has the codes and links to redeem – 20 Lost In The Green MQA CD Master downloads (any PCM lossless format you choose). Also allows Bandcamp (not MQA) streaming of the same title forever.
These downloads will play on *any* media player. You don’t need special hardware or software to listen to this 16/44.1 MQA encoded master.
If you use BlueSound gear, you may have to rename the audio files to end with “.mqa” (no quotes) so that media player knows to engage the MQA decoding.
[Update: if you can’t see the link go to my Facebook page here:
— WordPress can drive me crazy with embedded links not supported, sorry.]
Please mark the worksheet code you use with an “X” so others don’t try it later. Each code works only once.
Enjoy the music.
UPDATED Jan 18, 2017
These 4 songs now download for $4. There is 1 free track available
Here is how MQA Ltd. described me in their newsletter this week (emphasis is mine):
MQA Artist Release
Sound quality has been a driving motivation for singer-songwriter David Elias since he started recording his music digitally more than 20 years ago. On listening to some of his earliest recordings encoded with MQA, David noted, “The original intention and sounds are much more accurately represented [with MQA] and are therefore much, much more enjoyable to listen to. The convenience of MQA’s smaller file size is an additional no-brainer.”
This paragraph says a lot for me because I’ve lived with CD and its problems with sound quality as long as everyone else. In fact I had no CDs long after many did, sticking to vinyl and even my own mix tape cassettes (analog ruled) for years after the CD deluge. It sounded better. I liked album covers. What can I say.
I broke my teeth on CD quality recording in 1995 making my first CD in a home studio setup. I recorded to Hi-8 Video Tape at 16/48 on an 8-track Tascam DA-88. I’d recorded myself at times on various tape machines and a few digital boxes for almost 20 years but this was much different.
I listened to a lot of everything I put on tape through that whole process of recording, mixing analog (lengend original Mackie 1202!) to 16/44.1 (Sony TCD-10 DAT) and then mastered on a DyaxisII Workstation. It sounded good and in fact better in the studio than on the final CD that was printed.
Those early CDs and many later recordings were either created or converted to PCM to be moved online one way or another. All my released songs are on YouTube Music now for example, as audio, as well as lots of other places, like 50 or more. The more they travel in the Etherspace the worse they sound generally. They get downsampled and converted into whatever suits the retailer or streaming radio like Pandora (one of my least favorites for sound quality).
But shoots, I want to get heard…otherwise I wouldn’t put music I write out there in the first place.
Enter MQA… I started listening to it in February on hi-res converted music from 2L in Norway. Classical works. I knew some of them from 10+ years prior as SACDs I had actually been given by Morten Lindberg there. 2L put MQA converted masters (DXD conversions which are PCM at 24/352.8) online to try as well as other hi-res formats. I was using a Meridian Explorer2 MQA DAC connected to my Dell Windows 10 notebook running the latest JRiver.
All I can say is I didn’t hear anything I didn’t like, and in some cases heard some things I really really liked.
So I started listening to other MQA encoded tracks. MQA is not a new audio format. It is still linear PCM, just has its own corrections (aka filtering) applied to the encoding of the music.
What I started paying attention to more and more and hearing more and more were the timing coherence corrections in the playback. What PCM has always done to my ears, along with countless others, is present a very sharp unnatural edge to the sound that can get worse for me the louder or harder the music is played. It doesn’t flow like vinyl, cassette, or DSD. Usually it kind of attacks quickly, then disappears. It’s not relaxing, let me put it that way.
MQA encoded tracks I listened to had lost much of that sharp attack, no decay characteristic. They were well presented and much easier to listen to. They positioned things more clearly in the stereo space noticeably including the front and back locations in addition to left and right. The soundstage was then more 2 dimensional with depth as well as 3 dimensional with up and down.
This listening started with a lot of music I didn’t know, yet I was happy to listen to it with open ears so to speak.
Over the next few months, I decided I wanted to hear some of my PCM recordings as MQA and started making inquiries as to how I might do that. In the end, I became an MQA artist partner and have converted my catalog and archives to MQA encoded PCM.
I’ve actually had most of my catalog online as PCM on the Bandcamp site (http://davidelias.bandcamp.com) as CD quality up to 24/88.2 for a couple years now. Now most of that has been updated to download in the smaller FLAC or ALAC MQA encoded files.
Overall, MQA sounded better to me than any CD or hi-res PCM master I had. It doesn’t need much more proof to me. I have read a lot about the “what it is” and “why it works” to understand that better, but after my intro through reading and some YouTubes, I just started listening a lot. I still am.
What About The 4 Songs… The first album on the page at the link above is a free download. You can also stream it as much as you want. Bandcamp lets you download songs in a variety of formats. The default is MP3. Don’t download it as MP3!
MQA requires what’s called a lossless format — The 4 big lossless formats being used out there are the original WAV (PC) and AIF (Mac) and their file (not audio) compressed counterparts FLAC (PC) and ALAC (Mac). Choose one of those when you download from anywhere no matter what the site or music! It is not missing some of its music from the original like MP3!
FLAC and ALAC are roughly 1/2 the size of WAV and AIF. They sound identical and are better at carrying the magic metadata or tags that include all the song and album info for the media player to display when playing the track.
MP3 and Apple’s AAC use math to remove audio data in an original CD or hi-res audio master to make it a much smaller file (in general about 1/10th the size). That was the strategy from the beginning when everyone was dialing up the Internet on modems. It made sense then as one didn’t want to stay online for hours or days to download an album. Apple cemented that approach since iTunes Store came online in 2004. How long will that go on? As long as people buy it I guess.
Excuse Me, What About The 4 Songs… Ok, I have a lot of MQA encoded music I am really kind of hearing for the first time myself. This includes both very good and some not so great recordings (like live public hall stuff through a single $99 Sony stereo mic to DAT).
Most of it got created as a PCM recording. The MQA encoded versions of these tracks changed how they sound to me and took me a lot closer to the original performance whether was studio or live stage. It sounds more like the sound in the room at the time and what was played and I am relaxed when I listen to it because of that.
Go here and try 4 songs at 3 different PCM resolutions, all encoded as MQA
If I went into too much detail this email might get long :)
Here’s the (short) not so fine print:
1) If you have an MQA DAC you can hear the full resolution up to 24/352.8 or the limits of your MQA DAC.
2) If you don’t have an MQA DAC you can just play it anyway at 16/44.1, 24/44.1 or 24/48 depending on source track
3) If you get an MQA DAC later (or the media players do it for you) you’ll hear the hi-res then
The song audio resolutions range from CD (16/44.1) hi-res (24/96) to DXD (24/352.8). They are all only about as big as a CD file to download (about 700MB), maybe a little bigger.
CD’s sound better as MQA to me with or without the MQA DAC gear. You can just play them. I’ve had different people tell me the same thing about my stuff. So far I have heard its biggest benefits on the lowest res recordings. I might even know why.
If you have questions you can reply to this email, it just comes to me…I hope you try downloading the tracks. If you have an MQA DAC, don’t stream them, download them!
Thanks For Listening!
With the autumnual equinox a couple days off for those of us “up over” and the vernal equinox equally ready for those “down under”, a release of a single from the stage at the Great American Music Hall in San Francisco is ready to move into the iTunes/Tidal/Amazon/et al ether.
You and anyone you tell about it can download it for free for the next few days.
Download the WAV audio here: Hi – David Elias
Performed with Charlie Natzke and Chris Kee, “Hi” has done a great job on the 2MAXFM Australian radio with great thanks to DJ Pete Hammond.
To listen to a 12 minute interview from last month with Pete Hammond calling from Narrabri Australia you can click here.
Have a happy new season.
Hi – David Elias
Tell me the reason
I feel this way
Is it something I said
Or just what I might say
Am I closing an old book
Or writing a new
Is it one long hello
Or just one short adieu
The mountains are one
The days are all long
We just sit in the sun
And talk through the hours
Til the pale glimmering
If you lean a bit closer
You might hear me sing
And I won’t look back I won’t look back
I’ll never go I’ll never go
I can’t say yes I can’t yes
I won’t say no I won’t say no
All that I need is the eye that can see in my heart
So go wander away
But don’t linger too long
You may miss the reason
You first came along
Tell me your story
Tell me your heart
We won’t share those secrets
Til well after dark
For the July 4th weekend and in celebration of Independent Artists everywhere, here is a link to grab a different sound from me on a song called “Poor Polly”. It can be downloaded as DSD, WAV or MP3 — take any or all…
“Poor Polly” is a rambly track (over 8 minutes) recorded studio live to DSD on Sonoma by Charlie Natzke at Slipperworld.net. The non-acoustic quartet is me, Charlie (electric guitar), Scott Beynon (electric bass), Ken Owen (drums).
The song is included on my Coffeehouse DSD Playlist #1 sampler of my hi-res recordings through these years.
Hope you enjoy this and have a great weekend. For all of you in the U.S.A…Happy July 4th!
If you are not into reading today, skip to the bottom part where there is a FREE download of a NEW song release “Silver Pen”…
Saturday – OCTOBER 26th – General Store – 2pm
with Roger Powell, Marty Atkinson, Scott Beynon, Ken Owen, Reid Dennis, Gary McArthur…
Friday – NOVEMBER 1st – General Store – 6pm
with Marty Atkinson, Scott Beynon
It’s great to see and hear the new interest in DSD now in the form of downloads online. If you are into Hi-Rez, you can find my stuff online now at these two places:
If you are not into Hi-Rez but are curious about it, just reply to this message and let me know. Most people are now playing DSD along with their whole iTunes collection and other stuff through what they call media players.
Popular media players are by JRiver, Audirvana, Channel D. These are usually free to try and then cost $50 or so to buy. A free .ORG version for Windows is at http://www.foobar2000.org
If it sounds good…it is good!
Many thanks to the exhibitors at the Rocky Mountain Audio Fest in Denver last weekend for demoing my DSD tracks: Positive Feedback Online, SuperHiRez.com, exaSound.com, Puget Sound Studios, Channel Classics, Lumin, Mytek…Awesome!
A new single is going to be out on October 25th. It’s called “Silver Pen” recorded to DSD by Charlie Natzke at Slipperworld.net in La Honda, Calif.
“Silver Pen” will then be online as a download from CDBaby, iTunes, Amazon, Sonify, Rhapsody…
You can download the MP3-320 of it for $0.00 right now…
Thanks for reading my blog!
This is a track from a complete album to be released later this year as a DSD Download. The album is all previously unreleased songs recorded at Slipperworld featuring these musicians: Charlie Natzke, Chris Kee, Scott Beynon, Ken Owen.
These are all live studio (ala “Crossing” and “The Window”) recorded with minimum mics, less than 8-tracks including natural room reverb. They are without edits and overdubs. It is what it was…
The sound is not always entirely acoustic, but echos the sound of many shows with the CasualTees and XING before that (like the shows coming up in San G!). These were the essence of the years performing on the West Coast in the frequent trio and quartet arrangements. Upright and electric bass, electric and acoustic guitars and drums all got recorded live in the studio. So it sounds live. Like listening from a very good seat in the house…
THANKS FOR LISTENING!