What has kept CDDA at the top has nothing to do with its value as a format, but rather the fact that greedy stupid people know it and know how to manage it for profit; nothing else.
Well, perhaps. One can also turn this about and say: The longer a given format exists, the better the investment in gear for that format becomes.
Also: Not until CD was 20 years old was the technology, pricing, and adaptation well advanced enough that lots of people could consider moving their most-listened tracks to file-based storage. And then to 128Kbit mp3, tops! Some years more and there was Vorbis and FLAC and other more encumbered formats. Quality-wise up to the arrival of FLAC there simply was too much to lose in going compressed, unless some very careful design decisions were made.
The radio company where I worked between 2008 and 2016 had 48KHz 256Kbit MPEG2 as standard format for stereo tracks (24bit 48KHz linear stereo, ie 2.1Mbit, for recording music) all that period. This was feasible because encoding was made with some very clever hardware encoders that were capable of squeezing all possible quality from the MPEG system. This choice of course was related to the fact that the playout platform required a Hitachi FC SAN with SMB NAS heads to work properly, and then bytes are very expensive...
Therefore, unless someone had invented perpendicular recording drives earlier, digital music simply was not ready for the file transfer paradigm. That and the fact that it takes ages to download music using a modem!
I think that the storage angle on the problem is well explained by the fact that CD-R was a very popular format for file transfer.
You should read up on this Occam guy. Told you before, and the reasons keep stacking up...
Yeah, there's a thing aboot Occam's Razor... the thing that
everybody conveniently forgets... is the middle part:
"The simplest solution that answers all the parts of a question is most likely the correct one."By your own argument right here then, CDDA has outlived its tenure as an audio format
with any objectively superior qualities by at least a factor of 2:1; honestly, more like 3:1, in the face of dozens of objectively superior formats and management schemes. The only thing that held it back was distribution, which was already in place at that time in the form of
Digital Versatile Disc, which had more than enough storage for superior, even lossless audio formats,
as well as all the metadata we take for granted right now, today.
Imagine what your 100-disk jukebox could have been like back in 2000 or so, even with the technology of the time: Everything we take for granted now with the iPud/iPad music playing experience... track info already included; cover art part of the filesystem... even room for extras like an exclusive music video. But no... because they decided against spending the time & money to process even the most basic metadata into the original CDDA specification, we
still, to this day have to have online metadata services baked into every digital music management software product that might ever have to deal with CDDA.
For that colossal, multi-generational waste of global resources alone every RIAA member executive should be hung up by their testicles until dead.
The single reason which answers all that, and the fact that it continues to persist even today, and still indirectly poisons all digital formats that have followed, is simple human greed.
mnem