High-resolution audio or vinyl rips? Streaming platforms face quality backlash

July 28, 2025, 14:00 EDT

Streaming platforms promising studio-quality sound are facing renewed criticism after listeners detected surface noise, clicks, and pops in tracks labeled as “Master” or “Hi-Res.” The controversy has sparked debates across audiophile communities, with growing concern over the lack of transparency in how high-resolution audio is sourced and labeled.

Listeners question the authenticity of “Hi-Res” audio

Music lovers have long turned to high-resolution streaming platforms like Tidal and Qobuz in search of the best possible sound quality. These services advertise “Master” or “Studio” quality tracks, suggesting access to the original, uncompressed studio recordings. But many audiophiles have begun to notice something troubling: surface noise that resembles old vinyl rips.

A now-viral Reddit post drew attention to Nina Simone’s track Feeling Good from her 1965 album I Put a Spell on You, available in Tidal’s “Master” tier. The listener pointed out:

“Just listen to the quiet parts in the introduction—there is the very distinct sound of considerable record wear.”

Other users reported similar anomalies across different genres. In one case, a high-resolution ECM piano piece streamed via Qobuz exhibited distortion and excessive highs—flaws not present in the CD-quality version. Switching to standard quality often eliminated these noises, strongly suggesting that some “hi-res” tracks may have been sourced from vinyl.

When “Master” doesn’t mean studio master

While it’s understandable that vinyl transfers are sometimes necessary—especially for older recordings where studio tapes are lost—the problem lies in misleading labeling. Tracks marked as “Hi-Res” or “Master” create the impression they’re sourced from pristine studio masters. But if they contain vinyl-specific artifacts and aren’t labeled accordingly, listeners are left feeling deceived.

The presence of pops, clicks, and groove noise indicates that some streaming platforms are distributing digitized vinyl without proper disclosure. Audiophiles argue this compromises the integrity of the “hi-res” designation, especially when users are paying premium prices for the tier.

How are streaming platforms sourcing their tracks?

Contrary to popular belief, streaming services do not curate or verify each individual file themselves. Instead, they rely on record labels and distributors to provide the audio content. As David Solomon, Chief Hi-Res Music Evangelist at Qobuz, put it:

“We play whatever the labels send.”

This means that a “Studio Master” file could be a genuine high-resolution digital file, or a digitized version of a vinyl pressing—depending on what’s available. For many mid-20th century albums, master tapes may be damaged, missing, or locked away. Vinyl copies become the only available source.

That reality alone isn’t the issue. What frustrates listeners is the lack of transparency. Tracks digitized from vinyl should be clearly labeled as such, so users can make informed choices—especially if the audio contains signs of wear.

A growing gap between marketing and listening experience

Despite mounting evidence from listeners, neither Tidal nor Qobuz has offered a clear system for identifying the source quality of their tracks. Qobuz does allow users to flag questionable files, but the response time is slow, and there’s no public record of fixes or updates.

Meanwhile, Tidal—once a strong supporter of MQA (Master Quality Authenticated)—has transitioned to FLAC for its hi-res streams. While this move improved format transparency, it hasn’t addressed deeper concerns about source integrity.

Both platforms continue to promote their top-tier offerings with bold marketing claims:

• Qobuz: “Exactly the sound from the studio recording.”
• Tidal: “Studio quality sound.”

These claims clash with user experiences, where supposedly high-resolution tracks feature artifacts typical of vinyl rips or compressed masters.

Real-world consequences for the audiophile community

For serious music fans and audio professionals, these missteps go beyond annoyance—they undermine trust. High-resolution audio is a premium product, and listeners expect to receive the full dynamic range and detail promised.

One user summed up the experience bluntly:

“If I wanted surface noise, I’d play a record. I’m paying for clean, studio-quality audio—not a digitized LP.”

Analysis from user forums and audio engineers supports this. Many CD versions and local FLAC rips outperform “Master” tier streams in both dynamic range and tonal clarity. Moreover, digital watermarking—sometimes used by labels for tracking—has introduced audible artifacts. In the Revolver (Super Deluxe) edition on Qobuz, listeners in different countries reported slightly different-sounding versions due to embedded watermark shifts in the 2kHz range.

A call for transparency and accountability

At its core, the issue isn’t that vinyl rips are inherently bad. In some cases, they may be the only option for preserving legacy recordings. But misleading branding and poor communication have eroded trust in high-resolution streaming services.

Audiophile communities are increasingly calling for:

• Source labeling: Was the file sourced from a master tape, vinyl, or digital remaster?
• Verification tools: Let users verify bit depth, sample rate, and dynamic range.
• Faster response to user reports: Create visible update logs and hold providers accountable.

Without such transparency, claims of “Master” or “Hi-Res” lose their meaning.

Final thoughts: Premium tiers demand premium honesty

Tidal and Qobuz have helped push high-resolution audio into the mainstream, but their current practices risk damaging the credibility of the format itself. As more users scrutinize what they’re paying for, the demand for transparency will only grow.

High-resolution streaming should not be a leap of faith. If platforms want to retain their audiophile audience, they must bridge the gap between marketing and reality, and provide tools that allow users to truly verify what they’re hearing.