Categories
Music Technology

The Mystery of the Missing Music

There is a particular kind of frustration that comes from a problem you cannot see, cannot touch, and cannot fix — but know with absolute certainty is real. For several months, my music kept stopping. Not constantly, not predictably, but often enough that every morning listening session carried a low-grade dread: is it going to skip today?

I’m going to tell you what I found. Some of it involves network diagnostics and log files; I’ll translate all of that into plain language. But the short version is this: I proved — with data — that the problem was never on my end. And then I cancelled my Qobuz subscription.

The Setup

Bear With Me, Non-Audiophiles

First, some context. Music matters to me. I’ve been playing piano for about a half century, and guitar for most of that time too. I grew up listening to high end audio equipment my father built. These days, I spend real money on my own audio equipment. My current listening chain runs from a Roon Server — essentially a dedicated music computer — through a Bluesound NODE, into my main system. Roon fetches hi-res audio from Qobuz, a streaming service that specializes in high-fidelity music files, and delivers it without any quality compromise.

Hi-res audio from Qobuz — think 24-bit, 192,000 samples per second — requires a reasonably fast and stable internet connection to stream properly. Not extraordinary, but consistent. A rough analogy: it’s like streaming a 4K movie. You don’t need a fiber connection, but you need one that doesn’t randomly drop to dial-up speeds for ten seconds at a time.

That is exactly what was happening.

The Clues

Roon keeps detailed logs of everything it does, including exactly how fast it’s downloading audio from the streaming service at any given moment. When the download speed falls below what’s needed to play a track without interruption, it logs a warning. When I started pulling those warnings out of my logs, the picture was striking.

March 28 – April 6, 2026

I began my first systematic analysis. Twenty log files. Thousands of streaming events. The pattern that emerged was so clean it almost looked manufactured.

One log file covering over eight hours of overnight streaming — tens of thousands of audio data requests — recorded zero errors. The log file from the following afternoon recorded over a hundred. The server hadn’t changed. The internet connection hadn’t changed. The only variable was the clock on the wall.

In the IT world, this is called a time-of-day pattern, and it almost always means one thing: peak-hour congestion somewhere on the delivery network.

Writing to Qobuz

April 7, 2026

I wrote Qobuz a detailed support email — not a “my music keeps stopping please help” complaint, but a technical brief. I had run network path analysis, checked DNS resolution, verified my firewall and security configuration, and ruled out every local cause. I told them exactly what I had found: the problem was consistent with peak-hour congestion on the Miami-area Akamai server that delivers audio to Florida customers.

“Analysis of 20 Roon log files covering March 28th through April 6th reveals a clear and consistent pattern: sessions running overnight — approximately 1:00–9:00 AM ET — recorded zero streaming errors despite tens of thousands of active Qobuz CDN requests. Sessions running during daytime and evening hours recorded hundreds of failures each.”

— from my April 7th email to Qobuz Support

I also asked them to investigate the specific Akamai edge server — I had identified it by name: a1094.dscv.akamai.net, serving out of Miami — and to look at its performance during daytime peak hours for Florida customers.

If you really want to read the entire email message I sent, including all of the technical findings, you can see it here – just click the triangle at the beginning of this section.

Hello Qobuz Support,

I am a Qobuz subscriber located in Sarasota, FL and have been experiencing consistent streaming failures for several weeks. I have conducted extensive diagnostics this morning and wanted to share my findings in detail so your engineering team can investigate on the CDN side.

SYMPTOM

My streaming client (Roon Server 2.64 build 1646, running on Ubuntu Server 24.04) logs show repeated “UnrecoverableError” failures in Roon’s internal streaming cache (FTMSI-B) when attempting to fetch the initial data block (block 0) from your Akamai CDN. Errors have been logged hundreds of times per day across multiple weeks. Playback typically self-heals after one or two retries, but results in audible track skips.

DIAGNOSTICS COMPLETED

1. Network path analysis (MTR, 100 cycles)

Zero packet loss end-to-end. Final Akamai edge node (a23-205-165-70.deploy.static.akamaitechnologies.com) responds at a consistent 9-10ms with minimal jitter. The network path is completely clean.

2. DNS resolution

All three resolvers tested — local Unbound, Google (8.8.8.8), and Cloudflare (1.1.1.1) — consistently return identical IPs: 23.205.165.70 and 23.205.165.72 (a1094.dscv.akamai.net). DNS is functioning correctly and geo-routing me to the appropriate Miami-area edge node for my location.

3. Traffic shaping / QoS

No egress traffic shaping configured on the Roon Server host. Default fq_codel qdisc only.

4. Firewall / IDS

OPNsense with Suricata IPS — no Suricata alerts for Qobuz or Akamai traffic. Ruled out as a factor.

5. Roon version

Running current release (2.64 build 1646, updated April 1st). Errors predate this update, going back to at least March 28th — the oldest logs available.

KEY FINDING: STRONG TIME-OF-DAY PATTERN

Analysis of 20 Roon log files covering March 28th through April 6th reveals a clear and consistent pattern:

– Sessions running overnight (approximately 01:00-09:00 ET): ZERO streaming errors, despite tens of thousands of active Qobuz CDN requests

– Sessions running during daytime and evening hours: Hundreds of UnrecoverableError failures per session

Specific example: A log file covering April 3rd 01:13 through 09:34 (over 8 hours of active Qobuz streaming, 54,000+ CDN-related log entries) recorded zero errors. Log files covering daytime sessions on the same and adjacent days recorded 82-204 errors each.

Network conditions, DNS resolution, server configuration, and Roon version are identical between the clean overnight sessions and the error-filled daytime sessions. The only variable is time of day.

This pattern is strongly consistent with peak-hour congestion or capacity constraints on the Miami-area Akamai edge node (a1094.dscv.akamai.net, 23.205.165.70/72) that serves Florida customers.

REQUEST

I would ask that your engineering or CDN operations team investigate the capacity and performance of the a1094.dscv.akamai.net edge node during peak daytime hours (approximately 09:00-23:00 ET), specifically for initial block (block 0) fetch latency and timeout rates for Florida-region customers.

I am happy to provide full Roon log excerpts or any additional diagnostic output if it would help your investigation.

Thank you for your attention to this.

Best regards,

Steve Haney
steve@thehaneys.net

April 11, 2026

Qobuz replied. They acknowledged the problem and gave me an explanation I found credible: a caching anomaly in their content delivery network. In some cases, certain servers were delivering incomplete or corrupted audio files. They said they’d performed a cache purge — essentially clearing the bad data from their servers so fresh copies would be fetched — and asked if things had improved.

“Our teams have identified the source of the problem. It is related to a caching anomaly within our content delivery network (CDN). In some cases, certain servers may temporarily deliver incomplete or corrupted audio files.”

— from Qobuz Support

April 12, 2026

A follow-up arrived. Jesse told me the ticket had been marked closed but that he was personally monitoring it and would follow up once the team had more information. He asked if I’d be willing to do another log analysis to see whether things had improved.

I said yes. I would run another analysis and report back.

That was the last I heard from Qobuz.

The Second Investigation

April 17 – May 10, 2026

I analyzed 21 additional log files covering 23 days of listening — approximately 130 megabytes of data, around 450,000 lines of logs. The findings were not encouraging.

The time-of-day pattern from my first investigation had not improved — it had, if anything, sharpened. Nearly three-quarters of all failures occurred in the morning window between 7 and 11 AM. The cache purge had not fixed the underlying problem.

How bad were the drops?

To play 24-bit hi-res audio without interruption, Roon needs a sustained download speed from Qobuz’s servers. Think of it as a floor the connection needs to stay above. Here’s what I was actually receiving:

For Non-Audiophiles

To put those percentages in context: if you ordered a glass of water and received a thimble, the restaurant would be delivering roughly the same proportion of what you asked for. 84 individual events across 23 days showed throughput under 200 kbps. Some of these lasted five to ten minutes at a stretch.

The Smoking Gun

Good detectives don’t just collect evidence of the crime — they find the comparison that makes the evidence undeniable. Here’s mine.

Around the time of my second analysis, I added TIDAL as a secondary streaming service alongside Qobuz. TIDAL also offers hi-res audio. Same Roon Server. Same internet connection. Same Bluesound NODE. Same house, same morning, same cup of coffee.

Both services were streaming 24-bit hi-res audio to the same device, over the same connection, through the same firewall. The sole difference was the company delivering the audio.

This comparison eliminates every possible local explanation — my router, my ISP, my Roon configuration, my Bluesound endpoint — all in one stroke. If any of those were the cause, TIDAL would suffer the same failures. It doesn’t. The only thing that differs is whose servers are delivering the audio. Qobuz uses Akamai. TIDAL uses its own infrastructure. Akamai struggles in my region during morning hours. TIDAL does not.

Why it Matters – and Why I’m Sharing It

If you’re a normal person who just wants music to play, none of the kilobits-per-second stuff matters to you directly. What matters is this: your streaming service may be failing you, and you’d never know it unless you investigated. The music just… stops. Or skips. And the easiest explanation — the one you’re most likely to assume — is that your internet connection had a hiccup. Maybe it did. But maybe it didn’t.

If you’re a Qobuz subscriber in Florida, or anywhere in the southeastern United States, and you’ve been experiencing morning skips and dropouts: it’s worth knowing that this was a documented, ongoing infrastructure problem with Qobuz’s Akamai CDN. It wassn’t your router. It wasn’t your ISP. It wasn’t your streaming app.

And if you’re an audiophile wondering whether TIDAL’s hi-res tier holds up under real-world conditions: in my experience, measured over dozens of sessions on the same hardware, it absolutely does. The contrast could not have been more stark.

As for me — I’ve moved on. The music plays now, every morning, without drama. Sometimes the best diagnostic result is knowing exactly which variable to change.

Steve Haney is a Sarasota-based IT consultant, and reluctant audiophile who apparently reads server logs for fun. His Roon server runs on Ubuntu 24.04. The Bluesound NODE has no idea how closely it’s being monitored.

Categories
Music

The Cure finally gets their Grammy

Congratulations to The Cure on their first two Grammy Awards ever, after nearly 50 years as a band!

The wins were presented during the pre-telecast ceremony, but The Cure weren’t in attendance—reports mention it was due to the recent funeral of former guitarist Perry Bamonte.

Robert Smith sent a statement that was read onstage, thanking the team, Universal Music Group, their crew, and especially the fans who supported the album and tour.

A transcript of Robert Smith’s rewritten acceptance speech:

Simon, Jason, Roger, Reeves, and I would like to thank the Grammys for this wonderful award. We are very honored to receive it. We would also like to thank everyone who helped in the creation of our ‘Songs Of A Lost World’ album, particularly co-producer Paul Corkett, everyone in the Universal Music Group who worked so hard to get our ‘Lost World’ found, everyone in our mostly indefatigable crew… and most importantly, all of the Cure fans around the world, who came to our ‘Lost World’ shows and enjoyed our ‘Lost World’ music. Without you, none of this would be possible. Thank you!

Categories
Music

Why Black Vinyl Just Sounds Better

Okay, fellow turntable warriors, let’s talk about something that’s been bugging me lately. Every time I hit up a record store on record store day to find special releases, I’m bombarded with these rainbow explosions of colored vinyl—neon pink splatters, translucent blues, glow-in-the-dark, etc. They look amazing, don’t get me wrong. Especially the translucent ones when I drop them on my turntable’s illuminated platter, like Weezer’s Okay Human. But when I drop the needle? Half the time, I’m greeted with more crackle and pop than a bowl of Rice Krispies. Call me an old fart, but there’s something undeniably superior about classic black vinyl. It’s not just nostalgia talking—there’s actual science and real-world experience behind it. Let me break it down for you, with a few war stories from my own collection.

The Secret Sauce in Black Vinyl

Vinyl starts its life as clear PVC pellets. To make it black, manufacturers mix in carbon black. It’s a tough, conductive pigment. Essentially, it’s the same stuff used to reinforce tires. It increases the record’s durability. The static buildup is reduced, so less dust clings to it. It also creates a smoother, quieter surface. The grooves hold the music more precisely, leading to that deep, warm analog sound we all chase. Colored vinyl? They use dyes or pigments instead. These don’t add the same strength or conductivity. Sure, modern pressing plants have gotten way better, and a solid-color pressing from a top-notch facility can sound fantastic. Often, you get higher surface noise, especially with fancy effects like splatter, marble, or (god forbid) picture discs. Color blends can lead to tiny inconsistencies in the vinyl. These inconsistencies appear where the pigments meet. They turn your quiet passages into a subtle hiss fest.

My Own Battles with the Rainbow

I’ve got duplicates of a few albums I’ve compared. My black pressing of The Cure’s Head on the Door from the late 80s versus the record store day limited picture disk edition I impulse-bought last year. The black one is dead quiet between tracks. The picture disk? It’s got this low-level whoosh that pulls me out of the immersion. The color mix introduces noise. Picture discs—those things are basically wall art. Even translucent or glow variants can attract more static and dust, making them fussier to maintain. Black just… works. It ages better, plays cleaner longer, and lets the music shine without distractions.

But Hey, Collect What Makes You Happy

Look, I’m not here to rain on anyone’s parade. If a neon green pressing of your favorite album makes your heart skip a beat when you pull it out, go for it. Vinyl collecting is as much about the vibe and the visuals as the sound. Limited colored runs are fun, rare, and flip for stupid money sometimes. I don’t consider myself a collector in the sense that I’m buying rare vinyl to build up the value of my record collection. I’m usually looking for deals, and just want to best sound I can get out of the format. If you’re chasing that pure, goosebump-inducing analog magic—the kind where the bass rumbles your chest and the highs sparkle without any extra grit—black vinyl wins every time. It’s the reliable old friend that never lets you down.Next time you’re debating between the standard black and the “coke bottle clear” variant, ask yourself: Do I want it to look cool on the shelf, or sound cool spinning at 33 1/3? For me? Black all the way. Now if you’ll excuse me, I’ve got a stack of classics calling my name. What about you? Team Black or Team Rainbow? Drop your thoughts below—I promise not to judge (too much). 

Categories
Music

Ringing Out 2025 on Vinyl: A Perfectly Analog New Year’s Eve Morning

Ah, December 31, 2025. The world is preparing for popping champagne corks and dodging fireworks. I decided to keep it low-key this morning. It’s cozy and gloriously old-school: spinning vinyl records. There are no playlists or algorithms. It’s just me with my turntable, a stack of black gold, and the satisfying crackle that makes everything feel right.

It started slow in the morning. The mellow vibes helped ease into the day. Muddy Waters’ Folk Singer from 1964 for that dreamy reflection on the year gone by. The grooves pulled me in as I sipped my coffee. Vinyl has this magic. It forces you to listen. You have to flip sides and appreciate the album as a whole journey. They are not just skippable tracks. Then came the Beatles’ Abbey Road, because what’s a year-end without a medley like side two of that album?

But the real highlight? Dropping the needle on AC/DC’s Highway to Hell. Oh man, what a rush! As the opening riff of the title track blasted through the speakers, I couldn’t sit still. Angus and Malcom Young’s guitars screamed pure energy. Bon Scott’s vocals snarled with that devilish grin. Suddenly, it was 1979 all over again. “I’m on the highway to hell!”—perfect anthem for bidding farewell to 2025’s chaos. The whole album is a fireball. Songs like “Girls Got Rhythm” and “Walk All Over You” highlight that thunderous bass. It’s raw, unpolished rock ‘n’ roll. Digital just can’t replicate it. The vinyl warmth made those power chords hit even harder.

AC/DC Highway to Hell

Here’s to more analog adventures in 2026. If you’re tired of the digital hustle, grab a record, dim the lights, and let the music spin you into the new year. It’s the most fun way to say goodbye to the old one—no regrets, just pure rock ‘n’ roll bliss. What was your go-to album this year? Drop it in the comments—I might add it to my collection, if I don’t already have it!