We understand that you have a huge music library that has somehow disappeared. We'll do our best to assist you with restoring it. To clarify, do you have more than one device that is signed in with the same Apple ID? If so, does the music appear on that device? Did this occur after making any changes to your account or your device? Also, where did the music originate from? For example, did you download the music with your Apple Music subscription, was it purchased in iTunes or both? Having these details may be able to allow us to isolate the behavior.

Thanks for using Apple Support Communities. It sounds like you've taken the correct steps to add the Downloaded music option to your Music app. We'd recommend checking to see if any restrictions are enabled next. If there are, that might be why you are unable to make these changes. Check out Use parental controls on your child's iPhone, iPad, and iPod touch - Apple Support which has more information regarding restrictions. We've included a couple sections below that might be particularly helpful.

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It sounds like you might be a bit misinformed about what "Downloads" are in Apple Music. "downloads" are music that you download off of Apple Music to your device via an Apple Music subscription. The main purpose of doing this, is so that you can listen to the music off line. You can also transfer music manually from your computer to the device that you own. This process is involved though, and I don't have the energy to explain it right now.

Articles last month revealed that musician Neil Young and Apple's Steve Jobs discussed offering digital music downloads of 'uncompromised studio quality'. Much of the press and user commentary was particularly enthusiastic about the prospect of uncompressed 24 bit 192kHz downloads. 24/192 featured prominently in my own conversations with Mr. Young's group several months ago.

There are a few real problems with the audio quality and 'experience' of digitally distributed music today. 24/192 solves none of them. While everyone fixates on 24/192 as a magic bullet, we're not going to see any actual improvement.

In the past few weeks, I've had conversations with intelligent, scientifically minded individuals who believe in 24/192 downloads and want to know how anyone could possibly disagree. They asked good questions that deserve detailed answers.

Young, healthy ears hear better than old or damaged ears. Some people are exceptionally well trained to hear nuances in sound and music most people don't even know exist. There was a time in the 1990s when I could identify every major mp3 encoder by sound (back when they were all pretty bad), and could demonstrate this reliably in double-blind testing [2].

ADCs and DACs didn't always transparently oversample. Thirty years ago, some recording consoles recorded at high sampling rates using only analog filters, and production and mastering simply used that high rate signal. The digital anti-aliasing and decimation steps (resampling to a lower rate for CDs or DAT) happened in the final stages of mastering. This may well be one of the early reasons 96kHz and 192kHz became associated with professional music production [8].

An engineer also requires more than 16 bits during mixing and mastering. Modern work flows may involve literally thousands of effects and operations. The quantization noise and noise floor of a 16 bit sample may be undetectable during playback, but multiplying that noise by a few thousand times eventually becomes noticeable. 24 bits keeps the accumulated noise at a very low level. Once the music is ready to distribute, there's no reason to keep more than 16 bits.

Keep in mind that some headphones are expensive because they're well made, durable and sound great. Others are expensive because they're $20 headphones under a several hundred dollar layer of styling, brand name, and marketing. I won't make specfic recommendations here, but I will say you're not likely to find good headphones in a big box store, even if it specializes in electronics or music. As in all other aspects of consumer hi-fi, do your research (and caveat emptor).

A second reason to distribute lossless formats is to avoid generational loss. Each reencode or transcode loses more data; even if the first encoding is transparent, it's very possible the second will have audible artifacts. This matters to anyone who might want to remix or sample from downloads. It especially matters to us codec researchers; we need clean audio to work with.

The BAS test I linked earlier mentions as an aside that the SACD version of a recording can sound substantially better than the CD release. It's not because of increased sample rate or depth but because the SACD used a higher-quality master. When bounced to a CD-R, the SACD version still sounds as good as the original SACD and better than the CD release because the original audio used to make the SACD was better. Good production and mastering obviously contribute to the final quality of the music [24].

The recent coverage of 'Mastered for iTunes' and similar initiatives from other industry labels is somewhat encouraging. What remains to be seen is whether or not Apple and the others actually 'get it' or if this is merely a hook for selling consumers yet another, more expensive copy of music they already own.

The point is enjoying the music, right? Modern playback fidelity is incomprehensibly better than the already excellent analog systems available a generation ago. Is the logical extreme any more than just another first world problem? Perhaps, but bad mixes and encodings do bother me; they distract me from the music, and I'm probably not alone.

This chart shows the five eras, which are defined by the music delivery format that produced the most revenue during the period. The first era was vinyl. Vinyl (actually shellac) recordings came out before the turn of the 20th century, but the industry really came into being in 1925 when vinyl disc speed became standardized at 78 rpm, making it possible to play discs from any label on any record player. In the late 1940s, 33 rpm LPs and 45 rpm singles came along, and vinyl began to replace shellac.

Next came the tape era. Eight-track tapes came along in the mid-1960s as a way of playing music on demand in cars. Then, in the early 1970s, cassettes became capable of good sound quality in a more convenient package. Not only did cassettes supersede 8-tracks in the car, they also became viable alternatives to vinyl in the home. But the innovation that really lifted cassettes' importance was the iconic Sony Walkman in 1979. This introduced the world to high-quality personal portable on-demand listening; by 1983, cassettes led the industry in revenue.

Music downloads appeared in the late 1990s, at the height of the CD era. Downloads took up no storage space at all (apart from that of a hard drive) and were easily portable and transferrable, even if the sound quality of MP3 files tended not to be as good.

But very few music downloads in the late '90s were legal. By that point, CDs had a run of 15 years of double-digit growth and nine years as the most lucrative recorded-music format; the record labels weren't interested in supporting anything that would disrupt that momentum. They were especially afraid of supporting a format that was so easy to copy without authorization. So instead of embracing downloads, the labels pushed back against them with lawsuits, overly onerous licensing deals with emerging music services, and DRM technology requirements.

It wasn't until 2004 that Steve Jobs was able to coax the major labels into backing a simple, attractive model for music downloads with iTunes. Download revenue started growing at the same steep rate as CDs had done during the 1980s. But the growth didn't last; revenue started leveling off in 2008.

Several factors contributed to the decline of downloads; one was the economic slowdown of 2008. But other factors were more important. One was the unprecedented ease of copying files and transporting them around the Internet. DRM technology was meant to inhibit that, but research on how effective it was has been very limited; my own research shows that the industry's 2009 shift to selling DRM-free downloads wasn't correlated with any significant changes in revenue.

Another factor that turned people away from commercial downloads was the growing sense that when you bought them, you didn't really "own" anything. The idea of building a "library" of digital files didn't turn out to be so appealing when you couldn't hold anything in your hands or point to shelves full of music, there wasn't anything special about owning things that could be copied so freely, and it became a hassle to keep all those files synced across all your devices.

Ultimately, interactive streaming services dispensed with the veneer of ownership entirely, replacing it with unlimited access to a massive library of music for as long as you kept your subscription active. Interactive streaming had been around since the early 2000s, but it took three later developments to make it popular: smartphones (2007), 3G wireless service (2007-2010), and the massive hype that accompanied Spotify's 2011 launch in the U.S. market. Accordingly, download revenue started to fall in 2012.

In fact, as the projections in the figure above show, download revenue should drop below CDs by next year. (It's already less than revenue from all physical products -- CDs plus vinyl.) After that, we should see an end to downloads as a commercially viable format. In fact, the industry is rife with rumors that Apple intends to stop selling music downloads sometime next year.

At the end of the day, neither the industry nor consumers have valued downloads very much. Downloads were a convenient stopgap during a time when Internet access was slow, not pervasive and not continuous; and the more complex streaming technology had yet to be fully developed. But as the figure above also shows, the download era of 2011-2015 coincided almost exactly with the worst period for total industry revenue (adjusted for inflation) since the RIAA began compiling data in 1973. 0852c4b9a8

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