I understand you are in the “MQA sounds good to me and that is all that matters camp” and I agree with you to the extent it relates to just listening to MQA while it is available from Tidal without additional charge and just to enjoy the music.
However, as someone who, pre-MQA and to this day, regularly works to find the best sounding copy of every recording I love, and that is a lot of titles, I will say that provenance is critical. It’s analogous (pun intended) to vinyl lovers looking for the best copy of an LP, whether that means less scratched or from the best master/pressing (“Get the UK release!”… “no, get the German one!”). You can waste a lot of money buying random versions if you don’t have any indication of provenance, just hoping they sound better than the one you have.
For example, the Steven Wilson remix/remasters of prog catalogs like King Crimson and Jethro Tull are revelations. They’re not just a tad better. Knowing where a hi res or MQA version originates would be critical in making a purchase decision. Not so critical to streaming Tidal, but if you are going to part with ~$20 per title, you are going to have a much better chance at cost-effectively upgrading your library if that provenance is available.
This is not limited to MQA given that provenance is also often not available at HDTracks, etc. But it is a darned shame relative to the process MQA describes in their marketing materials for involvement of content owners They chose not to lift a finger to track provenance as well as process the files into MQA – they’re already digging out the masters – it’s just one more metadata field to actually include provenance.
It’s a big shame they don’t, and I suspect it’s because with some, the provenance would not be very attractive, and also possibly may expose that a lot of this is being done on an assembly line basis without much work to seek the best masters, creating a hit or miss experience that could have been better.