I would like to request a feature that displays “Hi-Res FLAC” in the now playing screen where codec is displayed when 24-bit/44.1kHz and above bit files are played.
Currently in the expanded now playing screen a 24-bit FLAC file displays as “FLAC · 24/48 · 1900 kb/s”. It would be nice to have like “Hi-Res FLAC · 24/48 · 1900 kb/s” or a highlight saying “Hi-Res FLAC”
Problem solved:
More similar to some players that display Hi-Res FLAC in the expanded now playing screen.
Brought benefits:
Indication about a Hi-Res FLAC file and also some UI pleasing.
Other application solutions:
Similar to “MAX” on tidal and some that show “Hi-Res” below the artist name in the expanded now playing screen.
Well except that the normal default minimum for hi res actual name would be 24/96
So that screen is a lie and your 24/48 file is actually no hi res at all by the normal definition.
This leads to the eternal question what is hi res, and how to ensure it’s actually hi res and not just upsampled. If I take an mp3 and encode it to flac 24/192 it won’t be hi res.
So to resume: Sorry won’t add something that have no meaning, and different understanding by different peoples
According to Sony’s definition, if the bit depth is greater than or equal to 24, it is Hi-Res, and some 1bit DSD is also Hi-Res, so you can use such a string to display it.
It depends on a lot of factors , first of all as Tolriq said that if its mp3 upscaled to 192 , then its a lie and not actually high res file .
2nd of all 192 khz file is waste if you dont have a proper Dac to support it !! Mainly almost all phones (basic ones ) support upto 16 bit at max and go upto 24 bit 96khz and also yes 192 khz but not that good !! The dacs used in mobiles are not so good !!
If you want to unlock 192 khz better get a proper DAC with supported iems or speakers and then use dedicated applications like Qobuz or Tidal to achive that quality with DAC , i have no idea about how symfonium supports or renders high res or decodes it !!
You can also purchase albums from qobuz or prostudiomasters.com to ensure you get proper 192 khz file !! Others rest are upscaled most of the time !!
I forgot to say to anaylze graphs of FLACs to be sure whether its upsacaled or real 192 khz file !!
Yes, I default that our can purchase high-resolution audio sources from regular channels such as mora, OTOTOY, Qobuz and Tidal platforms. I think he just wanted to see it and bring a visual intuition. If our can’t guarantee that the music source in your hand is officially purchased, such a logo is naturally meaningless.
“Hi-Res” is really nothing more than a marketing term. A FLAC file that is 24/48 has either been “upscaled” (which means more noise) or the source itself is 24/48 which is rare. Some artist do record in 24/48 for nuance but scale down in the mastering process knowing that it is beyond the range of human hearing. Maybe sites like Tidal actually have 24/48 but I’m skeptical and see “Hi-Res” as a way to compete with other music streaming services.
Claim 1: “Hi-Res is nothing more than a marketing term.”
This statement is misleading. While “Hi-Res” is certainly used in marketing, it also represents a defined technical standard for audio quality that exceeds that of CDs (16-bit/44.1kHz). It’s specified by metrics like sample rate (e.g., higher than 44.1kHz) and bit depth (e.g., higher than 16-bit). Therefore, it’s not solely a marketing gimmick; it’s an identifier for specific technical specifications.
Claim 2: “A 24/48 FLAC file is either ‘upscaled’ (meaning more noise) or the 24/48 source itself is rare.”
This claim has two parts:
“Upscaling means more noise”: Simple upscaling of a low-resolution file (e.g., 16/44.1kHz) to 24/48kHz without sophisticated processing won’t improve sound quality and could introduce artifacts. However, advanced upscaling algorithms can improve perceived quality.
“24/48 sources are rare”: This is a significant misconception. In modern music production, recording and mixing at 24-bit/48kHz or even higher sample rates (like 24-bit/96kHz or 24-bit/192kHz) is standard practice. Professional studios routinely record and master at these higher resolutions. Producers often work with high-resolution master files and then export various formats for release, including CD-quality, streaming quality, and Hi-Res quality. Thus, 24/48kHz or higher source files are commonplace, not rare, in the industry.
Claim 3: “Artists record in 24/48 for nuance but scale down because it’s beyond human hearing.”
This claim is largely accurate:
Recording at 24/48 for nuance: Yes, higher sample rates and bit depths capture a wider frequency range and greater dynamic range. This is crucial for capturing detail during recording, mixing, and mastering. Even if the final release format is lower, the high-resolution original recording provides more headroom and flexibility for post-production, reducing accumulated errors and preserving more sonic information.
Scaling down due to human hearing limits: It’s true that human hearing typically ranges from 20Hz to 20kHz. Frequencies above 20kHz are generally inaudible to most people. Therefore, downsampling high-resolution masters to more common specifications for release (like 16/44.1kHz or 24/48kHz) is a standard practice for file size and compatibility. However, this doesn’t negate the value of high resolution. Even if unheard, higher sample rates and bit depths can more accurately reproduce waveforms within the audible range, reducing quantization errors and aliasing, leading to better overall sound quality and a more “natural” sound.
Claim 4: “Streaming services like Tidal might have 24/48, but I’m skeptical and see ‘Hi-Res’ as a competition tool.”
This claim has two points:
Streaming services having 24/48: This is confirmed. Major streaming platforms like Tidal, Qobuz, Apple Music (via ALAC), and Amazon Music HD genuinely offer high-resolution audio streams, including many at 24/48kHz and higher. These files come directly from record labels and distributors, not through artificial “upscaling” by the platforms themselves.
Skepticism and competitive tool: Skepticism is understandable given past instances of misleading claims in the audio industry. However, the Hi-Res audio offered by current mainstream platforms is authentic and derived from high-resolution masters. Seeing it as a “competitive tool” is also partially true. In a competitive streaming market, offering superior audio quality (like Hi-Res) is an effective strategy to attract and retain users, similar to offering 4K video. More importantly, it reflects technological advancements and growing consumer demand for higher fidelity sound.
These contents are generated by Gemini. I agree with you that it’s not easy to feel the difference between Hi-Res and regular lossless audio. However, I think its emergence offers us new options and has certain positive significance.
