Late to the discussion, but for what it's worth....
I've got a stupid number of albums on CD, SACD, Blu Ray Pure Audio, DVD-A, and high res downloads. I've lost count but I suspect, between my collection and my wife's (she's into Baroque and other music roughly before and after that era, and has amassed quite the collection) we've gotta have 10-12,000 albums or so.
We play our music on the living room rig (OPPO UDP-205, Leema Tucana II Amp, Tetra 333 stack and Apple TV 4K to allow,streaming from my Mac in the office). Hanging off the Mac, in the office, is an OPPO HA-2 headphone Amp/DAC, which serves a 2.1 Paradigm Millenial set of powered speakers, so I can get pretty good sound in the office also, which is soundproofed from the rest of the apartment.
Last, we both have good quality (medium level, but still very good) digital audio players for private personal listening. Rio has Cayin N5IIS, and my main DAP is a relatively new FiiO M11. We also have two spare Opus DAPS, one where the balanced out isn't working, and both with some kinds of occasional hiccups, even if most often they work ok. But they're good as spares and, between a total of 6 microSD card slots across the FiiO and two Opus DAPs that hold up to 1 or 2Tb cards, that allows for a pretty sizeable chunk of my collection available on them (CD quality ALAC at least, or high res ALAC at best). I've actually got enough microSD cards, ranging anywhere from 200Gb to 1Tb in capacity, that I have our entire collective music library (approaching 9Tb) stored, in an organised fashion, across them. So I can have a LOT of music with me in bed and whenever I go out. For me, portability is as important as having a really high end home system, as if I end up travelling again, being able to have any and all Musicien might need to have with me is very important.
To wrap the gear part, Rio has a pair of Shure SE215 in ear monitors, but with a balanced cable for better sound. I use a pair of west one UM 30 PRO IEMs, also with a balanced cable, and also have a pair of OPPO PM-3 Planar Magnetic cans, also with a balanced cable.
But I refuse to listen to MP3. When you listen to music as many hours a day as I do, even if 320k MP3 is pretty okay, I find MP3 do tire my ears over the course of a day, whereas my collection, largely ALAC, never does.
As for which medium I prefer? I gave up on vinyl years ago, for the most part for space reasons. I still but plenty of CDs, especially older OOP tiles, but also contemporary releases. I prefer to but albums in high res from places like ProStudioMasters or ideally BandCamp, but if they aren't available in high res then I'll often buy the CD, though I must say I have bought quite a few digital albums, cd quality, from BandCamp as well.
I still don't see CDS disappearing entirely, if for no other reason, now that artists are beginning to get back out on the road, I truly believe that nobody wants to go to a merch table, plop down $15 or $20 and get a download card. No, I think most folks want to get something they can hold in their hands, whether it's a CD or vinyl.but given the price of vinyl, I still think people aren't more prone to buy a CD. I know I am.
So, for me, a mix of media, with an eye to high resolution hard or soft format if available AND if they've been mastered by engineers I come to trust. High res media like SACD is great, but the medium matters not the album was (a) poorly recorded (think Soft Machine Third), (b) poorly mixed and/or mastered originally, or (c) poorly mastered for the medium at hand. And different engineers really does matter. With no disrespect intended to Steve Hoffmann, who is typically great, but I had his Analogue Productions SACD of Jeff Beck's Truth, and it sounded great. But I recently picked up Shawn Britton's version of the same album on Mobile Fidelity, and intentionally so as I wanted to compare the album as mastered for SACD by two very good engineers, and I have to say I prefer Britton's master. A little less bright, considerably more heft. Not that Hoffman's is bad, it's very, very good. But I think it comes down to personal preferences in a situation like this, and for my ears Britton's master is just that extra bit more satisfying. But the Hoffman is great, even though I'll be getting rid of it since I prefer the Britton.
But it was an interesting experience, to get the opportunity to compare two masters (both from original master tapes, BTW), of an album I love, and both done by engineers I respect. I know I'm moving away from the thread's main purpose, but to bring it back....
...I still have plenty of interest in CD (even thoug I got a cd quality downloadable advance of the Lennon/Plastic Ono Band box, complete with watermarked pdf or the book, I still bought the real box. Excessive, perhaps, but it means everything on the 6 CDs in high res on the two Blu Rays (and even more material, to boot!), and it's a nice box, sized to match the Imagine box.
I buy some reissues in download high res only, like the recent CSN&Y Déjà Vu set, as I didn't want vinyl and was ok not getting the booklet. But the upcoming Chicago Complete Carnegie Häll box, even though it'll be available in high res (and who knows, if it's reasonable I might also buy the high res downloads). OTOH, the upcoming 50th Anniversary Grateful Dead Skull & Roses (expanded) I've preordered in high res from dead.net, and Garcialive Vol. 16, as they come with a PDF of the booklet.
So it all depends, is hat I guess I'm saying. But I still have a place for CDs chez Kelman, and while the majors may be trying to steer fans away from hare media barring deluxe box sets, there are too many small/indie artists and/or labels who continue to sell CDs...and rarely sell vinyl because of the high cost to manufacture, and also the challenge of finding a plant who'll manufacture them in a reasonable timeframe..
Ok, I'll stop now 😳
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