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    The Computer Audiophile

    Recording Lossless Audio With Audio Hijack From Rogue Amoeba

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    Since the dawn of ripping CDs and downloading high resolution music people have been subjecting the files to audio analysis through applications such as Audacity and Adobe Audition. This type of analysis can be interesting when it reveals a high resolution album was simply upsampled from at 16 bit / 44.1 kHz version. A much more interesting, and more telling, indicator of sound quality can be seen when analyzing a track's waveform for dynamic range compression. Now that audiophiles are streaming lossless 16 bit / 44.1 kHz music from services such as TIDAL HIFI, Qobuz, and Deezer, the question of how to analyze this music becomes relevant. In the past we simply imported the file stored on our hard drive into one of the analysis applications and we had our answers. Because streaming services don't store music on our hard drives in the traditional sense we have to get a little creative. Thanks to software from Rogue Amoeba called Audio Hijack we can now capture bit perfect audio from nearly anything and save it on our hard drives for later analysis. What follows is a step-by-step guide to recording music using Audio Hijack.

     

     

    Note: I'm not foolish enough to think people won't use this article for nefarious purposes such as recording lossless music from streaming services. However, please keep in mind I do not advocate being a jerk and ripping people off just to beef up your collection of music, or worse make the recorded music available to others. Recording a few tracks for analysis then deleting the tracks is reasonable to me and why I believe this article is aboveboard.

     

     

     

     

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    How To

     

     

    Download Audio Hijack from Rogue Amoeba - > Link

     

     

     

     

     

     

    Open Audio Hijack and select New Session in the bottom left corner

     

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    Select New Blank Session in the upper left corner

     

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    In the New Blank Session window click and drag the small Application icon from the upper right window to the main larger window on the left.

     

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    Click on the larger Application icon, that's now in the larger left window, to expose the Select an App drop-down box. Select the down arrow and select the application from which you'd like to record audio. I am recording a track from TIDAL HIFI for this demonstration.

     

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    Click and drag the Output Devices little icon from the right window over to the main larger window on the left. This should automatically put a connection line between the Application and Output Devices larger icons in the main window. Click on the Output Devices larger icon in the main window to expose the audio device selection area. I've selected Built-in Output: Internal Speakers for this demonstration, but any output can be selected. The reason an output is selected, even though we are recording to a file, is so we can hear the audio while recording.

     

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    Click and drag the small Recorder icon from the right window over to the main larger window on the left. In the image below you can see the connection line goes directly from the Application icon to the Recorder icon rather than flowing through the Output Device icon. By default the Recorder icon says MP3 256 kbps Stereo.

     

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    Click on the larger Recorder icon, that's now in the larger left window, to expose the configuration window. You can configure this however you want. Next to the Save to: text I've selected Desktop because that's a simple place for emote find the recorded fie when it's done. Next to Quality select the drop-down arrow and select Custom… Because I am recording the audio for analysis in Adobe Audition I've selected the WAV file format in the Advanced Recording Options section. TIDAL HFI streams at 16 bit / 44.1 kHz so I've selected these as well. If you leave Sample Rate configuration set to Auto it may record at 48 kHz rather than 44.1 kHz. Feel free to record at 48 kHz, but the audio will no longer be bit perfect.

     

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    The final configuration should look like this. If so, select the red record button in the lower left corner of the screen. Then switch to TIDAL HIFI and select play on the track you'd like to record. Audio Hijack will automatically start recording when the music starts.

     

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    Recording audio using Audio Hijack is very similar to transferring a vinyl record to a digital final in that it is done in real time. Thus, if a track is ten minutes long, it will take ten minutes to record the track to a file. During recording the audio Hijack window will look like this below. When the track is done, simply select the same little red record button to stop recording.

     

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    After recording is done I import the file into Adobe Audition for analysis.

     

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    I've been using a little program called "Total Recorder" for Windows for years. Will let you record anything audio in your PC from any source, including streaming, video, embedded in web pages, internet telephone calls, skype, etc. If you buy the pro version it has pretty massive functionality.

    You can record/edit/convert in just about any format and bit depth/rate. It also has some DSP and time shifting features. There's also a version that works with video.

     

    Audio/Video Recorder, Editor, Converter. Capture streaming video and audio.

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    I've been using a little program called "Total Recorder" for Windows for years. Will let you record anything audio in your PC from any source, including streaming, video, embedded in web pages, internet telephone calls, skype, etc. If you buy the pro version it has pretty massive functionality.

    You can record/edit/convert in just about any format and bit depth/rate. It also has some DSP and time shifting features. There's also a version that works with video.

     

    Audio/Video Recorder, Editor, Converter. Capture streaming video and audio.

     

    Correct. This software is absolutely nothing new and has been around for years upon years upon years. The idea that people are now just figuring out this type of application exists (and running around screaming about the falling sky) based on this article is mind boggling.

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    Correct. This software is absolutely nothing new and has been around for years upon years upon years. The idea that people are now just figuring out this type of application exists (and running around screaming about the falling sky) based on this article is mind boggling.

    With all do respect, people have busy lives and pay attention to many other things outside the world of software.

     

    If this is mind boggling, I suggest your mind is easily boggled :~)

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    I've been using a little program called "Total Recorder" for Windows for years. Will let you record anything audio in your PC from any source, including streaming, video, embedded in web pages, internet telephone calls, skype, etc. If you buy the pro version it has pretty massive functionality.

    You can record/edit/convert in just about any format and bit depth/rate. It also has some DSP and time shifting features. There's also a version that works with video.

     

    Audio/Video Recorder, Editor, Converter. Capture streaming video and audio.

    Thanks firedog.

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    Correct. This software is absolutely nothing new and has been around for years upon years upon years. The idea that people are now just figuring out this type of application exists (and running around screaming about the falling sky) based on this article is mind boggling.
    The concept may not be new, but Audio Hijack 3 is new, and there's been a lot of positive press around it in the Mac community recently.

    Rogue Amoeba make great products, so I have been meaning to check it out, but I just don't use the Macs here very often.

     

    It may not be using the program to its full extent, but this is one way you can use it, and I can see why Chris would have tried this approach.

     

    I don't see why some people are assuming that this automatically means it's going to be used for piracy.

    What, you expect people to queue up a playlist in Tidal, record it in real-time, and then chop it up into separate tracks, then manually tag them?

    Those AirPlay recorders which automatically split the stream and pull in metadata seem more like they would be used for piracy; but again, you're going to subscribe to Tidal just to pirate audio in real-time?

     

    Please. If someone wanted to pirate music, they would just download the full album off a shady website somewhere in a fraction of the time rather than jumping through all those hoops.

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    I don't really think so. Recording from TIDAL takes to much time because it's 1:1 (time-wise) and must be manually tagged etc... If I were TIDAL, I wouldn't really be concerned.

     

    As already pointed out, real-time recording back in the day didn't stop people taping stuff with cassette recorders. It wouldn't take much to play an album using Qobuz, Spotify, Tidal, etc., press 'record' on AH or similar, and then return in an hour.

     

    I do agree that TIDAL shouldn't be too concerned, as people these days are far lazier than they used to be, and very likely can't be bothered to set everything up, or take the time to edit the resultant lossless file(s).

     

    FWIW, I've written my own Audio Hijack equivalent for Windows, using the Win32 API. The default windows settings make it difficult to get it up and running, which makes me suspect that there are some who still think real-time digital piracy is a threat.

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    Now that audiophiles are streaming lossless 16 bit / 44.1 kHz music from services such as TIDAL HIFI, Qobuz, and Deezer, the question of how to analyze this music becomes relevant

     

    Chris, I'm unclear about the need to analyse lossless streams from these services. Presumably if we have a "HiFi" subscription from Tidal/WiMP or Qobuz we can trust that the streams being provided are lossless (apart from where otherwise indicated by the service).

     

    Is it because there's no guarantee that the source files provided to the streaming service were actually uncompressed/lossless in the first place? I'm assuming the lossless service provider is responsible for verifying this, since they are claiming these streams are lossless/CD quality.

     

    Perhaps you have doubts about this though, hence the need for the analysis?

     

    Interestingly I've noticed that it appears Tidal/WiMP are in the process of converting their "HiFi" streams from .flac to Apples .m4a format. I wonder why?

     

    I say this because some streams I was previously receiving from them in .flac format are now being streamed in .m4a.

     

    Whereas .flac is only used for lossless compression, as you know .m4a could be used for either lossy or lossless compression.

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    Chris, I'm unclear about the need to analyse lossless streams from these services. Presumably if we have a "HiFi" subscription from Tidal/WiMP or Qobuz we can trust that the streams being provided are lossless (apart from where otherwise indicated by the service).

     

    Is it because there's no guarantee that the source files provided to the streaming service were actually uncompressed/lossless in the first place? I'm assuming the lossless service provider is responsible for verifying this, since they are claiming these streams are lossless/CD quality.

     

    Perhaps you have doubts about this though, hence the need for the analysis?

     

    There have been reports of Tidal (specifically) upsampling their files. The same goes for services like Spotify and I believe HD Tracks got caught doing it as well.

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    WiMP (The scandinavian version of Tidal) published this article when they rolled out HiFi in Scandinavia. It contains some insight on how they sourced their tracks, and I believe Tidal uses the same material as WiMP.

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    Chris, I'm unclear about the need to analyse lossless streams from these services. Presumably if we have a "HiFi" subscription from Tidal/WiMP or Qobuz we can trust that the streams being provided are lossless (apart from where otherwise indicated by the service).

     

    Is it because there's no guarantee that the source files provided to the streaming service were actually uncompressed/lossless in the first place? I'm assuming the lossless service provider is responsible for verifying this, since they are claiming these streams are lossless/CD quality.

     

    Perhaps you have doubts about this though, hence the need for the analysis?

     

    Interestingly I've noticed that it appears Tidal/WiMP are in the process of converting their "HiFi" streams from .flac to Apples .m4a format. I wonder why?

     

    I say this because some streams I was previously receiving from them in .flac format are now being streamed in .m4a.

     

    Whereas .flac is only used for lossless compression, as you know .m4a could be used for either lossy or lossless compression.

    Hi Geoffrey - As I said in the article, I am interested in analyzing the audio for dynamic range compression.

     

    I've yet to see anyone question the source files from Tidal as being converted from lossy to lossless. In my experience when Tidal has received lossy files from a record label, those files are what's provided to the customer.

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    Thanks Chris.

    In my experience when Tidal has received lossy files from a record label, those files are what's provided to the customer.

     

    …but hopefully those lossy files do not show up as "HiFi" in the Tidal application, if/when a lossy file is the only file available?

     

    My only concern is that lossy files are not misrepresented in any steaming service as being anything other than what they are, "lossy".

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    Thanks Chris.

     

     

    …but hopefully those lossy files do not show up as "HiFi" in the Tidal application, if/when a lossy file is the only file available?

     

    My only concern is that lossy files are not misrepresented in any steaming service as being anything other than what they are, "lossy".

    In my experience lossy files do not appear as HiFi.

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    Glad to hear that. It's probably just me being paranoid. As a long time Qobuz user, it is always clear to me which format Qobuz is streaming as it states "flac" when streaming lossless, which is most of the time, apart from the limited time .mp3 extracts or when streaming is only allowed for albums that I have purchased.

     

    Thanks again for the clarification Chris.

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    I'm a long time AHJ (Audio Hijack Pro) user. I agree with majority of contributors here; it's just not practical to copy stuff this way. There are easier, more efficient ways to do it if you are determined. I just pay the service fee and not worry about some small details.

     

    However I just wanted to highlight another feature of AHJ which I use time to time; just hijack the app stream (say Spotify, don't record it), wire it to your Audio unit(s) such as pEQ, gEQ, etc and finish with the audio output device you use.

     

    One weakness of OS X is the lack of a system-wide audio driver where you can inject your DSP effects to use with apps like Spotify, Pandora, etc. This works reasonably well for me. Otherwise, for my own Flac, mp3 files, I use Mac JRiver which does all that anyway.

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    I'm a long time AHJ (Audio Hijack Pro) user. I agree with majority of contributors here; it's just not practical to copy stuff this way. There are easier, more efficient ways to do it if you are determined. I just pay the service fee and not worry about some small details.

     

    However I just wanted to highlight another feature of AHJ which I use time to time; just hijack the app stream (say Spotify, don't record it), wire it to your Audio unit(s) such as pEQ, gEQ, etc and finish with the audio output device you use.

     

    One weakness of OS X is the lack of a system-wide audio driver where you can inject your DSP effects to use with apps like Spotify, Pandora, etc. This works reasonably well for me. Otherwise, for my own Flac, mp3 files, I use Mac JRiver which does all that anyway.

    Thanks for the post macuniverse.

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    I record surround audio for my portable use by using Soundflower and Audacity like this:

     

    Decibel playing 5.1 -> OOYH -> Soundflower -> Audacity

     

     

    This means that I can take my glorious surround recordings from say 2L mobile.

     

     

    This is all per instructions from Dario Fong himself, that alerted me to his post on Head-Fi.

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    I might have missed something but the few tests (null tests) I made tend to prove Audio Hijack doesn't allow real bit perfect capture...

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    I might have missed something but the few tests (null tests) I made tend to prove Audio Hijack doesn't allow real bit perfect capture...

    Hi Onkle Je - Can you tell us a bit more about your testing.

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    Hi Onkle Je - Can you tell us a bit more about your testing.

     

    I downloaded a single track from Qobuz and then captured the actual same track from the Qobuz streaming service through Audio Hijack, as you explained in this topic. Then, I did a null test with Audacity (phase inverting one track, mixing and rendering the two tracks, etc.) and got a weird result instead of a blank new track. My only doubt is that I might have failed in synchronizing the two tracks. I also did a null test comparing a track to the very same one played through JRiver (with bit perfect audio path) and captured with Audio Hijack. I also got differences between the two.

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    I downloaded a single track from Qobuz and then captured the actual same track from the Qobuz streaming service through Audio Hijack, as you explained in this topic. Then, I did a null test with Audacity (phase inverting one track, mixing and rendering the two tracks, etc.) and got a weird result instead of a blank new track. My only doubt is that I might have failed in synchronizing the two tracks. I also did a null test comparing a track to the very same one played through JRiver (with bit perfect audio path) and captured with Audio Hijack. I also got differences between the two.

    Thanks Onkle Je - I have an email into Rogue Amoeba about this.

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    Thanks Onkle Je - I have an email into Rogue Amoeba about this.

     

    Note that I managed to get bit perfect results using Sound Flower as a kernel extension and Audacity as a recorder. But only when comparing a file to the very same one played through JRiver (with bit perfect audio path). I never managed to get a bit perfect result using Qobuz streaming service vs a downloaded track. I wrote to Qobuz about this.

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    Thanks Onkle Je - I have an email into Rogue Amoeba about this.

     

     

    I eventually managed to get bit perfect results using Qobuz, SoundFlower and Audacity. I must have made a mistake somewhere. Sorry about this. :/

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    I came to this article because an album I want is ONLY available on MP3 on iTunes. TIDAL has it for streaming, but my question is. Does recording the "hi-res" stream actually sounds better than buying the MP3 version?

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    All I wanted to know is how the Tidal lossless files (DR and waveforms) compare to the CD (assuming it's the same master).

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    All I wanted to know is how the Tidal lossless files (DR and waveforms) compare to the CD (assuming it's the same master).

     

    I can save you a lot of hassle. What we have is delivered directly over FTP from the record label. Except some very specific cases the files are exactly the same redbook files the label would print on CD and call CD. Only difference would be the quality of the error correction of your disc player and the ripper itself. Which means if there was a difference, it was the CD rip being different from the original redbook file delivered by the label.

     

    Best,

    Pål

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