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PonoPlayer

The PonoPlayer is a portable digital music player developed by PonoMusic, a company founded by musician in 2011, designed to deliver playback that preserves the original sound quality intended by recording artists. It supports lossless formats such as , allowing reproduction of music files up to 192 kHz/24-bit resolution, far surpassing the sound quality of standard MP3s, which Young criticized for retaining only about 5% of the data from original recordings, and even , which he said captured only a fraction of the full fidelity. The device features a triangular , a 2.5-inch color , 128 GB of total storage (64 GB internal plus a 64 GB microSD card), and dual 3.5 mm outputs for and line-level connections, powered by a 2950 mAh rechargeable lithium-ion battery. PonoPlayer emerged from Young's long-standing advocacy for audio fidelity, with development spanning over three years and involving partnerships like Ayre Acoustics for custom chip design. The project gained momentum through a 2014 Kickstarter campaign titled "PonoMusic - Where Your Soul Rediscovers Music," which sought $800,000 but raised over $6.2 million from more than 18,000 backers, marking one of the platform's most successful efforts at the time. Unveiled publicly at the South by Southwest festival in March 2014, the player was positioned not as a profit-driven venture but as a means to offer listeners a choice in audio quality, with Young stating it aimed to "bring music back to the way it was intended to sound." Commercial availability began in 2015, priced at around $400 USD, with initial sales through retailers like Amazon and a dedicated online store for high-resolution downloads. Despite endorsements from artists like and , PonoPlayer faced significant commercial challenges, including consumer skepticism toward high-resolution audio's audible benefits and competition from smartphones and streaming services. The associated Pono music platform, which offered downloads, struggled to attract a broad catalog or user base, leading to the device's discontinuation by 2017 and the service's eventual shutdown. In retrospect, as of 2025, PonoPlayer is viewed as a well-intentioned but ultimately failed attempt to elevate digital music standards, though it highlighted ongoing debates about audio quality in an era dominated by convenience over fidelity.

Development

Origins and Concept

Neil Young, a renowned Canadian-American musician with a career spanning over five decades, became increasingly vocal about the degradation of audio quality in digital music formats during the early 2010s. His dissatisfaction stemmed from the widespread adoption of compressed formats like MP3, which he argued stripped away essential sonic details, retaining only about 5% of the information present in original analog recordings such as vinyl. This critique was rooted in Young's personal experiences as a recording artist, where he observed the music industry's shift toward prioritizing file size and convenience over fidelity, a concern he later elaborated in his 2019 memoir To Feel the Music: A Songwriter's Mission to Save High-Quality Audio. In the book, Young recounts how interactions with industry figures, including a pivotal discussion with Apple co-founder Steve Jobs, highlighted the trade-offs in digital compression that diminished the emotional impact of music. Motivated by this vision, Young founded PonoMusic in 2011 as a platform dedicated to , with the PonoPlayer envisioned as its flagship hardware device to enable portable, authentic playback. The core concept centered on delivering "studio-master" quality sound through lossless formats, supporting resolutions up to 192 kHz/24-bit in and other codecs, allowing listeners to experience music as intended by artists without the losses of . This approach emphasized "" by recreating the warmth and depth of analog sources in a digital form, positioning PonoMusic as a movement to revive the soul of recorded music rather than just a product. Early development involved creating prototypes, with Young publicly unveiling an initial version of the PonoPlayer during a 2012 appearance on , where he demonstrated its potential for superior sound reproduction. Throughout 2013, Young continued advocacy efforts, sharing updates on the project's progress and conducting private demonstrations for industry insiders and at select music-related gatherings to build support for high-fidelity audio. These efforts laid the groundwork for broader partnerships that would follow in bringing the concept to market.

Crowdfunding and Partnerships

The PonoPlayer's crowdfunding effort began with a campaign launched on March 12, 2014, setting an initial funding goal of $800,000 to support production and development. The campaign quickly gained momentum, surpassing the goal within hours and ultimately raising $6,225,354 from 18,220 backers by its close on April 15, 2014, making it the third most-funded project on at the time. This success highlighted strong public interest in , aligning with Neil Young's vision for superior sound quality beyond compressed formats. Pledge tiers varied to attract different levels of support, with an option offering the PonoPlayer for $200—a $199 discount from the $399 retail price—limited to the first 100 backers and selling out rapidly. Standard tiers priced the device at $300 in or finishes, while $400 levels provided artist signature editions with laser engravings, such as those featuring or bands like , bundled with two high-resolution albums. Higher rewards, up to $5,000, included exclusive experiences like VIP listening parties with Young, further engaging music enthusiasts. Key partnerships facilitated the project's technical foundation and content ecosystem. Ayre Acoustics collaborated on hardware design, developing custom analog circuitry and filters around a high-performance DAC to ensure high-fidelity audio performance in a compact form. For content, initial deals were secured with major labels including , , and Entertainment, committing to provide high-resolution masters for the PonoMusic store. Following the Kickstarter, post-campaign developments included additional funding through an equity crowdfunding round launched in August via Crowdfunder, aiming to raise up to $2.5 million for expansion and ultimately raising over $6 million, with personally contributing to the company's seed financing. Production scaled accordingly, with mass manufacturing commencing in late summer to fulfill backer commitments by .

Design and Features

Hardware Specifications

The PonoPlayer features a distinctive triangular prism-shaped design, measuring 5 inches in height by 2 inches in width by 1 inch in depth (13 cm by 5 cm by 2.5 cm), which allows it to fit comfortably in a pocket while keeping the display visible when placed on a surface. Weighing 4.6 ounces (130 grams), the device is constructed with a rubberized that provides a comfortable , impact protection, and a soft-touch finish to enhance portability and durability. At the front is a 2.5-inch color display for navigation and playback control. Power is supplied by a replaceable 2950 mAh , offering up to 8 hours of continuous playback, with real-world performance typically around 7-8 hours depending on volume and file type. Charging occurs via a micro-USB port, with a full charge taking approximately 4 hours using the included universal . includes 64 GB of internal , supplemented by a microSD card slot supporting SDHC/SDXC cards up to 128 GB; a 64 GB microSD card is included, enabling a total capacity of 128 GB out of the box. The core audio hardware centers on an ESS Sabre ES9018K2M (DAC), a 32-bit mobile-grade chip optimized for high-fidelity playback, paired with a custom fully balanced analog circuit designed by Ayre Acoustics. The integrated , based on TI OPA4376 precision op-amps, delivers sufficient power for a wide range of , including those up to 300 ohms impedance, with an unbalanced output of approximately 1 V RMS and low distortion. Balanced output is supported via the device's two 3.5 mm stereo jacks, requiring an optional adapter cable to separate left and right channels for improved noise rejection and power delivery. Connectivity is limited to analog and wired digital interfaces, including dual 3.5 mm jacks configurable for headphone output, line-out, or balanced mode, and a micro-USB port for charging, transfer, and acting as a USB DAC when connected to a computer. The design omits wireless options such as or to prioritize audio purity. Build quality emphasizes a low-noise with separate regulation for analog and sections, reducing interference and ensuring clean signal paths, while the rubberized exterior aids in minimizing external vibrations during portable use.

Software and Audio Capabilities

The PonoPlayer operates on a custom operating system derived from , providing a streamlined focused on music navigation and playback. The employs swipe gestures to access sections such as albums, songs, playlists, and settings, with a central select button for functions like play/pause and track skipping, ensuring intuitive control during high-fidelity listening sessions. Metadata for tracks, including artist, album, and audio resolution details, is prominently displayed to inform users of the playback quality. The device supports a range of lossless and compressed audio formats, including , ALAC, , AIFF up to 192 kHz/24-bit resolution, as well as , unprotected , and DSD (DSD64 and DSD128 via method). While compatible with standard files, it is optimized for high-resolution downloads from the PonoMusic store, which delivers master-quality audio without restrictions. Audio processing features include for seamless album listening, native DSD support enabled through updates, and a customizable for volume leveling and sound adjustment. File management is handled via drag-and-drop transfer over USB, treating the player as a storage device with 64 GB internal memory expandable via microSD card. Integration with the PonoMusic World desktop application (a modified ) allows users to browse, purchase, and download tracks directly from the PonoMusic cloud-based store, though the player itself offers limited support for third-party applications due to its locked-down ecosystem. Firmware updates, delivered through the PonoMusic World software, introduced key enhancements such as DSD playback capability in version 1.0.5 (February 2015) and further refinements in version 1.0.6 (May 2015), improving overall stability and format compatibility.

Launch and Market Performance

Release and Initial Sales

The PonoPlayer's release was marked by several delays from its originally promised timeline. Following a successful campaign that concluded in April 2014, production began, with initial shipments to backers expected in the fourth quarter of 2014. However, while some beta units reached Kickstarter supporters in October 2014, full shipments to backers extended into January 2015 due to adjustments. Retail availability followed shortly thereafter, with the device hitting select stores like starting January 12, 2015, at a base price of $399. The initial pricing strategy positioned the PonoPlayer as a premium offering for audiophiles, with the 64GB base model retailing for $399 and options for expansion via microSD cards up to 128GB total storage. Partnerships with major retailers, including , facilitated broader distribution, though initial rollout was limited to about 80 U.S. locations to manage demand. Bundles with high-resolution album downloads were promoted through the accompanying PonoMusic store, which launched publicly on , 2015, offering more than two million songs, including over 5,000 high-resolution albums in formats like and DSD. Early marketing emphasized live audio demonstrations by , including events at CES 2015, alongside high-profile endorsements from artists such as , who appeared in promotional videos highlighting the player's superior . Initial sales reflected niche appeal rather than mass-market success, with approximately 20,000 units sold through and early preorders by early 2015, and total first-year figures estimated in the low tens of thousands. Production was handled by PCH International, but early challenges, including component sourcing hurdles, contributed to ongoing delays in scaling distribution through mid-2015. Despite these issues, the launch underscored PonoMusic's focus on , with the store seeing nearly 200,000 track downloads during its beta phase alone.

Reception and Criticism

The PonoPlayer received mixed reviews from professional critics, with publications praising its audio fidelity while mainstream outlets highlighted usability issues and questionable value. Sound & Vision described the device's playback of high-resolution tracks, such as Neil Young's "Heart of Gold" in 192/24 , as delivering "clearly distinct character" in instruments like pedal-steel and harmonica, with no dulling or compression, evoking a "top-drawer golden-ear experience." Similarly, Stereophile noted the player's transparency in revealing artificial reverb tails in recordings, allowing for detailed listening on the go. In contrast, criticized the $400 price as excessive for a device lacking transfer and an intuitive , with the described as sluggish and the interface hampered by tiny tappable areas and no hold button, making portable use frustrating. echoed these concerns, calling the interface "kludgy" and the design bulky, while emphasizing the limited selection and higher costs in the proprietary PonoMusic store, such as $17.99 for high-res albums versus $9.99 on . awarded it 7.1 out of 10, lauding the warm, articulate sound with strong bass in balanced mode but deducting points for the touchscreen's finickiness and dismal 6-hour battery life on high-res files. User feedback from audiophile communities like Head-Fi largely affirmed satisfaction with the audio fidelity, with reviewers noting a "holographic" presentation, wide dynamics, and natural sound akin to , particularly when paired with quality . However, many backers reported frustrations with the clunky , including laggy navigation and the absence of features like an or folder browsing, alongside real-world battery performance of only 6-8 hours despite claims of up to 10. Complaints also surfaced regarding the lack of timely Android-based software updates, leaving the device feeling outdated shortly after launch. Controversies centered on Neil Young's assertions that the PonoPlayer's high-resolution audio would deliver noticeably superior "soul" and detail compared to standard formats, claims undermined by multiple blind tests in 2015. In a Yahoo review by David Pogue, participants preferred iPhone playback of 256kbps AAC files over Pono's high-res versions in A/B comparisons, with none reliably distinguishing the formats. Similar results emerged in Slate's informal test with eight listeners, where six favored the iPhone and none identified high-res audio correctly, aligning with a 2007 Audio Engineering Society study finding no reliable audible differences between high-res and CD-quality sound for most people. A 2016 AES Journal meta-analysis of prior perceptual studies found a small but statistically significant ability for some listeners to discriminate high-resolution audio from CD-quality (16-bit/44.1 kHz), with the effect increasing with training. The device garnered some recognition, including the "Best Mobile Audio Player" award at the 2015 Rocky Mountain International HiFi Press Awards, but overall scores averaged around 3.5 out of 5 across review sites like (7.1/10) and Headfonia (4.4/5). Accessibility proved a barrier for non-audiophiles, with the steep around high-res file management and the heavy reliance on the proprietary PonoMusic store—lacking streaming apps or broad compatibility—alienating casual users.

Decline and Legacy

Commercial Challenges

The PonoPlayer faced intense market saturation from established competitors and the ubiquity of smartphones capable of playback. By the time of its 2015 launch, devices like Apple's supported high-res audio formats through third-party apps, diminishing the need for a dedicated player like the PonoPlayer, which retailed at $399 but offered marginal audible improvements over setups. High-end rivals such as Astell&Kern's players, already entrenched in the market with superior features like balanced outputs and broader format support at comparable or higher price points, further eroded Pono's niche appeal. Financial challenges compounded these issues, as production and operational costs outpaced revenue despite the $6.2 million raised via in 2014. The company quickly depleted funds on manufacturing and partnerships, leaving limited resources for expansion or marketing by 2015, with publicly acknowledging a "lack of resources" and the absence of a strong leader. The struggled with low adoption, despite selling only tens of thousands of players and offering a catalog of over two million high-resolution tracks by 2017, far short of projections amid high pricing for high-res files—two to three times that of standard MP3s—driven by demands. Operational setbacks accelerated the decline, including the 2016 acquisition of backend provider Omnifone by Apple, which forced PonoMusic offline for weeks as it scrambled to switch platforms with 7digital, disrupting service continuity. Internal turmoil arose from Young's public feuds with streaming services like Spotify over audio quality, leading him to pull his catalog in 2015 and further isolating Pono from broader industry alliances. By 2017, these pressures culminated in the effective shutdown of operations, with Young declaring the venture dead due to insurmountable financial and partnership hurdles. In 2018, he reiterated blame on record labels for pricing that stifled consumer uptake, marking the end of the service without a formal migration, though high-res content became available via alternatives like HDtracks.

Cultural and Technical Impact

The PonoPlayer significantly elevated mainstream awareness of , demonstrating that portable devices could deliver superior beyond standard levels and influencing the development of subsequent high-fidelity formats and services. By emphasizing uncompressed, high-bit-depth files, it contributed to the broader adoption of technologies like MQA, which emerged around the same period as an efficient method for streaming hi-res audio, though later criticized it for compromising quality. This push also spurred integrations such as Tidal's hi-fi streaming tier launched in , which offered lossless and high-res options to a wider audience, and inspired a wave of portable digital-to-analog converters (DACs) from manufacturers focusing on audiophile-grade mobile playback. Culturally, Neil Young's advocacy for the PonoPlayer amplified longstanding artist concerns about digital compression diminishing the emotional depth of music, igniting debates within music communities about the value of in an era dominated by convenient but lossy formats like MP3. Young's campaign, rooted in his belief that high-res audio preserved the "" of recordings, resonated with musicians and fans alike, fostering discussions on platforms from panels to media outlets. While not directly featured in major documentaries, the project's themes extended Young's narrative in works like the 2019 book To Feel the Music, co-authored with Pono executive Phil Baker, which detailed the fight against audio degradation and influenced cultural perceptions of digital music's artistic integrity. In 2025, retrospectives such as the 99% Invisible "Neil Young's iPod Killer" and reflections on Young's 80th birthday continued to frame Pono as a visionary yet ahead-of-its-time effort. In recent retrospectives, the PonoPlayer has been reevaluated as prescient amid the surge in high-res streaming, with a January 2025 Stereogum article arguing it prefigured services like by proving consumer interest in premium audio beyond compressed standards. The piece highlights how Pono's efforts validated demand for better-than-CD quality, contributing to the market's expansion—now a multi-billion-dollar sector with hi-res options integrated into mainstream platforms. Broader impacts include the preservation of the PonoMusic catalog on sites like HDtracks, where high-res versions of participating artists' works remain available, and community-driven extensions such as 2021 XDA Developers firmware modifications that prolonged the device's usability for enthusiasts. Despite these contributions, the PonoPlayer did not fundamentally transform the market, as its niche appeal and timing amid dominance limited widespread adoption; however, it enduringly affirmed the viability of high-fidelity portable audio, paving the way for today's normalized hi-res ecosystem.

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    Apr 25, 2021 · I've tried to re-sign it (PonoPlayer is using the android testkey) with no more success. How is it that a simple unpack/repack creates an ...