Qobuz: High-Res Streaming, Transparency, and a Clear Signal for Fairness

Not all streaming is created equal. Between algorithmic recommendation engines, mass consumption, and background noise, many artists are increasingly looking for platforms that treat music as art again – and compensate it accordingly. For years, Qobuz has positioned itself as a Hi-Res streaming service with editorial curation and a paying community. recordJet has been supplying Qobuz with releases since early 2024, making it a long-standing distribution partner of the platform. Now, the alternative streaming platform has opened a branch in Berlin – reason enough and long overdue to introduce this special streaming service to you in more detail.

Hi-Res instead of Compromise

Qobuz originally comes from France and was founded back in 2007. For years, Qobuz has positioned itself as a streaming platform for discerning listeners. The core element: Hi-Res Audio.

Over 100 million tracks are available in lossless quality – some in up to 24-bit/192 kHz. For music lovers, this means: more detail, more dynamics, more depth.

The subscription costs 14.99 Euros per month or 149.99 Euros per year. Unlike many competitors, Qobuz does not offer a free freemium model. In addition to streaming, there is a download shop where tracks – also partly in High-Res – can be purchased. Qobuz understands music not as background noise, but as a conscious experience.

We spoke with Lena and Mareile from Qobuz about payout models, visibility for independent artists, the role of metadata, and the importance of the German market – and why Qobuz deliberately wants to be understood as an alternative to “fast-food streaming.”

You state that you pay out $0.01873 per stream (as of March 2025). How exactly is this value calculated – and how sustainable is it economically?

Lena from Qobuz: One of the reasons our approach benefits artists is that we don’t offer an ad-supported free version. This means that our subscription revenues flow directly into the payout pool. Since our users are willing to pay a fair price for Hi-Res quality, our “Average Revenue Per User” (ARPU) is 5 times higher than the market average. This is also sustainable because we don’t focus on mass at any cost, but on the conscious listening of our community, which values music.

Many artists ask themselves: What actually reaches me in the end? How transparent are the billing processes for indie artists?

Mareile from Qobuz: We pay the rights holders (labels/distributors). How much an individual indie artist receives naturally depends on their contract with their distributor. But: Since our per-stream value is about four times higher than the market average, the basis for fair compensation with us is simply more solid. We disclose all data to the distributors.

How does discovery work on Qobuz? Are there editorial playlists or curated features that independent artists can also be included in?

Mareile from Qobuz: Absolutely, this is the heart of Qobuz and comparable to a digital record store. Algorithmic recommendations only play a subordinate role on Qobuz (e.g., in radio and autoplay functions), and the hand-picked recommendations of our in-house music editorial team have always been the focus at Qobuz, with a particular emphasis on album releases. We have a Qobuz-specific award for emerging talents, our “Qobuzissime,” with which we specifically introduce newcomers. In general, at Qobuz, we look beyond the mainstream at genres and artists that are rarely found on the homepage of other platforms.

Is it easier for indie artists to gain visibility on Qobuz than on major platforms – or is that a myth?

Lena from Qobuz: On large platforms, you’re fighting against the mainstream and algorithmic recommendations. On Qobuz, you reach an audience that actively searches for albums and trusts our editorial selection. If you’re an indie artist with music on Qobuz, you’re more likely to be noticed because our users listen consciously, are interested in the stories behind a work, which can be found in the form of album reviews, interviews, or other content in our magazine, and are not just looking for background noise.

Qobuz relies heavily on Hi-Res audio. Do artists specifically benefit from this?

Lena from Qobuz: Yes – artistically and economically. Artists invest months in achieving the perfect sound in the studio. We were the first to provide this sound losslessly for streaming. All offerings provide access to uncompressed (Lossless) and high-resolution (Hi-Res) audio quality, as well as a variety of exclusive editorial content. This justifies a premium positioning that ensures fairer compensation. Moreover, true Hi-Res fans tend to buy an album (in our download shop) – and sales remain one of the most lucrative sources of income for indie artists.

Would you say: If you’re on Qobuz, you should think differently about your mastering?

Mareile from Qobuz: Mastering should be thought of again as it was intended: for dynamics and timbres. Since we stream in Hi-Res, compression errors become immediately audible. We encourage artists to focus on quality during recording.

Are there certain genres or production methods that work particularly well on Qobuz?

Lena from Qobuz: Historically – and because sound quality has always been very important for this target group – we have relatively more listeners of jazz and classical music compared to other platforms. However, our most listened-to genre today is rock, and we are growing massively in indie, electronic, and urban music. Essentially, anything that is well-produced and has a certain depth works.

Qobuz has opened a branch in Berlin. Why now – and why Berlin?

Lena from Qobuz: Berlin is the creative heart of Europe and a hub for independent structures. We want to be close to artists, labels, and distributors. Now is the right time because the market is saturating, and people are looking for alternatives to “fast-food streaming.”

What strategic role does the German market play for you?

Mareile from Qobuz: Germany is one of our most important markets worldwide, the third largest – measured by revenue. The local listening culture is very quality-conscious. German users still buy music, appreciate hardware, and value data protection and conscious consumption with attitude – that fits perfectly with Qobuz.

Are you planning stronger collaborations with local distributors, labels, or indie structures?

Mareile from Qobuz: We have always worked closely with local labels and distributors through editorial or commercial campaigns and want to continue to do so. Our approach is not just to be an app, but a partner for the local network – from a download campaign to an exclusive live event. We recently became a sponsor of the VUT and look forward to direct exchange with its members to jointly create fair conditions for artists.

Do you see Qobuz as an alternative to Spotify & Co. – or rather as a complement?

Lena from Qobuz: We see ourselves as the conscious choice for art and ethics. Those who love music as an art form and appreciate artists come to us. We are the “neighborhood record store” among streaming services.

Why should a DIY artist consider Qobuz not just as a platform, but as an opportunity?

Mareile and Lena from Qobuz: Firstly, because we focus on transparency and fair compensation, and even unknown indie artists have the opportunity to be in the spotlight on Qobuz. And also, because we don’t push AI-generated music. A DIY artist with us is a human with a vision, not a data set. On Qobuz, you are not part of an anonymous algorithm, but part of a curated cultural selection. We offer the chance to find fans who don’t just let music wash over them, but truly listen.

Conclusion: Sound, Fairness, and Attitude

Qobuz is more than just another streaming service. The platform stands for:

• exceptional sound quality that makes music an experience in the best possible form,
• fair compensation for musicians through transparent models,
• human curation and editorial depth that goes beyond algorithmic norms,
• and last but not least, for a music culture that shows attitude and doesn’t just count charts.

Especially in a time when many streaming services focus on mass and automated suggestions, Qobuz feels like a return to a more conscious, qualitative understanding of music – and not just for connoisseurs, but also for the artists themselves. For DIY artists, this can primarily mean one thing: a platform where music gets more space – and is less likely to get lost.

We thank Lena and Mareile from Qobuz for the interview!

Profile:

Mareile Heineke, Regional Manager GSA: As the DACH region manager at Qobuz, Mareile Heineke drives strategic growth in Germany, Austria, and Switzerland through targeted partnerships with labels, media, and audio brands. She is instrumental in positioning Qobuz as a fair platform that combines equitable compensation for artists with the highest sound quality.

Lena Germann, Senior Editorial & Label Relations Manager GSA:
Since 2021, Lena has been responsible for editorial and music partnerships for the German-speaking markets at Qobuz. She oversees the strategic curation of new music releases, the creation of playlists, and the editorial management of the magazine. In doing so, she bridges the gap between aspiring newcomers and timeless classics to bring music streaming closer to people in a new way.