The first thing I think about with "Music in the Cloud" is... why?? I don't sit in the clouds to listen to music, I listen to it here and now. It could be a good idea if I wanted to show a mate a song and I didn't have it with me at the time, pop on the 'net and get it from my stash.... But realistically, I wouldn't be listening to alot of music from "the cloud" as I would be listening to it while doing other things and having it play on a device nearby: stereo, PA, monitors etc.
I really don't listen to music much when I'm on the net, I'm usually at work or the Mrs is watching telly or I may be playing a game. The Cloud music thingy wouldn't really work well in my particular situation but I can see the usefulness for others. I prefer my music as something I can access when *I* want to and not when I can be connected to it. I'd rather keep it on my PC/laptop and access it whenever I feel like it.
Now as far as music formats go, meh. There really isn't much worse sound quality than FM radio or TV but millions of people get their new tunes from listening on the radio or catching it on music TV, even I catch myself listening to music telly some afternoons. All these "lossless formats" and such certainly make some nice shiny tunes but in reality, how many people here are actually "audiophiles" who are so pedantic that they spend the ridiculous money to get a sound output system with 15-30k frequency spread from a bi-amped flat-response stereo setup?? Any clown can tell the difference between a badly compressed mp3 and a CD.
It was touched on earlier about the hardware and speakers being the main differential for how the tune "sounds". Take guitars and amps as a good example. Simple Marshall JCM-800 50W head, Gibson Les Paul and a Marshall 1960A Quad box. Sounds like a Gibson/Marshall setup, nice sound, play some Slash tunes. Replace the Les Paul with an SG, nice sound, a little more crunchy, play some AC/DC or Sabbath tunes, still pretty much sounds like a Gibson/Marshall setup. Now plug in a Strat and play the same tunes. Wow, different response entirely from the amp, lower gain, crisper sound, a fair bit "cleaner". Now change back to the Les Paul but run through a VOX cabinet with a pair of Alnico blue speakers... Wow, completely different tone again, different dynamics, different mouthfeel. Now stick a mic in front of the speakers, run it through a PA and listen to it via headphones in the mix out. Different again!
The point is, there is MUCH more to making a tune sound good other than the format (for want of a better term, compression format) that the tune arrives as. The sound output and mainly the speakers and digital processing are what will make the biggest difference to sound quality. Notwithstanding the golden rule tho: **** input = **** output.
I see people buy thousands of dollars of hi-fi gear to get "great sound" to listen to their mp3's. They sound pretty damn cool too. Then I see people spend the same thousands on gear to listen to their perfectly mixed and balanced "hi-def" audio and get a poor response.
Music today is engineered to sound "good" on most systems: crappy car speakers, ****** headcans, pristine home theatre setups, studio monitors and everything in between. Then it is HEAVILY compressed to give less dynamic change through playback on these crappy systems so that the volume is generally kept around the same level throughout the album (take a listen to Death Magnectic by Metallica, WAY over compressed so that on some really good systems it sounds actually distorted but on an average ****** speaker setup designed for iPods it sounds pretty good).
I love it when I go to a mates place and they throw some tunes on their whopping great sound system and crank it to 11 and hear the bass warbling and resonating drowning out the ear piercing high end with this major hole missing in the middle of the sound because of how the EQ'd their setup and placed their speakers (not to mention their volume!). My solution is simple: keep it as flat response as possible (all EQ set at mid position generally) and compensate with increase/decrease as required for room size, speaker placement, frequency spread of the tunes (eg: orchestra will use way more frequencies than old school metal). These artists and their financiers spent hundreds of thousands of dollars paying engineers and experts to make their tunes sound the best they possibly can on just about any system, why would I go and ruin that by twiddling knobs to get more bass or more treble just because my thousands of dollars worth of sound gear has all these knobs and sliders??
It is true Nath that some of the new formats for audio are pretty damn impressive and have come a LONG way from the days of crappy mp3's and Winamp. For the purpose of listening to a tune because I like it and feel good when I listen to it, mp3's or any other digital format is good enough to hear it as background music. When I want to analyse, dissect and study a tune (or their recording tricks) then I will get a bit more pedantic and jack up the quality to hear the tidbits I'm after. I certainly can't listen for those tidbits on the vast majority of what people call "good" systems now as they are designed simply to make a crappy tune sound good by re-processing it and jacking up the feel-good frequencies like super low bass or tinkling shiny cymbals etc.
I'd best stop or I will ramble on for ages....
Good debate and good to read a vast range of opinions on something I like to consider close to heart.
Cheers,
Shred.