(Jazz-Rock) [2LP] [24/96] Pat Metheny - What's It All About - 2011, FLAC (tracks+.cue)
![(Jazz-Rock) [2LP] [24/96] Pat Metheny - What's It All About - 2011, FLAC (tracks+.cue)](/upload/000/u2/e2/17/96-pat-metheny-what-s-it-all-about-20.jpg "(Jazz-Rock) [2LP] [24/96] Pat Metheny - What's It All About - 2011, FLAC (tracks+.cue)")
Треклист:
Pat Metheny - What's It All About
Жанр: Jazz-Rock
Год выпуска: 2011
Лейбл: Nonesuch 180g 2xLP-Set, Cat.#: 528173
Страна-производитель: USA, Pressed at Pallas
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24/192
Формат раздачи: 24/96
Продолжительность: 01:06:22
Треклист:
A1 The Sound Of Silence 6:33
A2 Cherish 5:25
A3 Alfie 7:41
B1 Pipeline 3:23
B2 Garota De Ipanema 5:07
B3 Rainy Days And Mondays 7:10
C1 That's The Way I've Always Heard It Should Be 5:57
C2 Slow Hot Wind 4:23
C3 Betcha By Golly Wow 5:12
D1 And I Love Her 4:22
D2 'Round Midnight 6:37
D3 This Nearly Was Mine 4:29
Credits
Guitar [42-string] – Pat Metheny (tracks: A1)
Guitar [6-string] – Pat Metheny (tracks: B1)
Guitar [Nylon-string] – Pat Metheny (tracks: D1)
Producer, Guitar [Baritone] – Pat Metheny (tracks: A2, A3, B2, B3, C1, C2, C3, D2, D3)
Источник оцифровки: aksman, AvaxHome
Код класса состояния винила: Ex
Устройство воспроизведения: Music Hall MMF 9.1 Turntable
Предварительный усилитель: Brocksieper Phonomax (Tube Phono PreAmp)
АЦП: E-MU 0404 external USB 2.0 Audiointerface
Программа-оцифровщик: WaveLab 6 recording software
Обработка: В технической информации
Жанр: Jazz-Rock
Год выпуска: 2011
Лейбл: Nonesuch 180g 2xLP-Set, Cat.#: 528173
Страна-производитель: USA, Pressed at Pallas
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24/192
Формат раздачи: 24/96
Продолжительность: 01:06:22
Треклист:
A1 The Sound Of Silence 6:33
A2 Cherish 5:25
A3 Alfie 7:41
B1 Pipeline 3:23
B2 Garota De Ipanema 5:07
B3 Rainy Days And Mondays 7:10
C1 That's The Way I've Always Heard It Should Be 5:57
C2 Slow Hot Wind 4:23
C3 Betcha By Golly Wow 5:12
D1 And I Love Her 4:22
D2 'Round Midnight 6:37
D3 This Nearly Was Mine 4:29
Credits
Guitar [42-string] – Pat Metheny (tracks: A1)
Guitar [6-string] – Pat Metheny (tracks: B1)
Guitar [Nylon-string] – Pat Metheny (tracks: D1)
Producer, Guitar [Baritone] – Pat Metheny (tracks: A2, A3, B2, B3, C1, C2, C3, D2, D3)
Источник оцифровки: aksman, AvaxHome
Код класса состояния винила: Ex
Устройство воспроизведения: Music Hall MMF 9.1 Turntable
Предварительный усилитель: Brocksieper Phonomax (Tube Phono PreAmp)
АЦП: E-MU 0404 external USB 2.0 Audiointerface
Программа-оцифровщик: WaveLab 6 recording software
Обработка: В технической информации
Техническая информация
Technical Log
RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > resampling and dithering with iZotope RX Advanced 2.00
> split into individual Tracks > FLAC encoded (Vers. 1.21)
No silence been removed, please burn gapless to match original tracklayout.
Personal Note (from aksman)
With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.
Dynamic Range Analysis
--------------------------------------------------------------------------------
Analyzed: Pat Metheny / What's It All About [Nonesuch 180g 2xLP-Set]
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -4.20 dB -20.55 dB 6:30 01-The Sound of Silence
DR11 -3.61 dB -18.91 dB 5:26 02-Cherish
DR11 -5.55 dB -20.97 dB 7:37 03-Alfie
DR12 -3.81 dB -19.13 dB 3:26 04-Pipeline
DR14 -4.00 dB -22.83 dB 5:10 05-Garota de Ipanema
DR13 -3.44 dB -19.62 dB 7:03 06-Rainy Days and Mondays
DR11 -2.78 dB -18.46 dB 6:00 07-That's the Way I've Always Heard It Should Be
DR12 -3.53 dB -20.24 dB 4:26 08-Slow Hot Wind
DR11 -1.06 dB -16.48 dB 5:07 09-Betcha by Golly, Wow
DR13 -4.38 dB -20.23 dB 4:19 10-And I Love Her
DR13 -4.10 dB -20.46 dB 6:39 11-'Round Midnight (Thelonious Monk)
DR11 -4.05 dB -18.88 dB 4:32 12-This Nearly Was Mine
--------------------------------------------------------------------------------
Number of tracks: 12
Maximum peak difference (-1.06 dB - -5.55 dB): 4.49 dB
Official DR value (Song Mode): DR12
==============================================================
RCM Hannl 'limited' with "Rotating Brush"
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500
Brocksieper Phonomax (Tube Phono PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5
WaveLab 6 recording software
Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > resampling and dithering with iZotope RX Advanced 2.00
> split into individual Tracks > FLAC encoded (Vers. 1.21)
No silence been removed, please burn gapless to match original tracklayout.
Personal Note (from aksman)
With my vinyl transfers, I try to catch the whole beauty of vinyl records; therefore I don't use any post-processing or any sound improvement. What you get is a clear and flat transfer. For getting a clear sound, I'll do an extended washing of each record with my RCM, which can take up to 30 minutes brushing on each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to lose any musical information in the process. Surface noises, as long they are not too high, are left in place. Only on bad pressings or on records recorded at extremely low levels do I use a fade in-/-out. As John Peel said, "Life is full of surface noises." In some cases this means that I have to make a compromise.... The result has to pass my personal quality criteria, which is IMO quite high.
Dynamic Range Analysis
--------------------------------------------------------------------------------
Analyzed: Pat Metheny / What's It All About [Nonesuch 180g 2xLP-Set]
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -4.20 dB -20.55 dB 6:30 01-The Sound of Silence
DR11 -3.61 dB -18.91 dB 5:26 02-Cherish
DR11 -5.55 dB -20.97 dB 7:37 03-Alfie
DR12 -3.81 dB -19.13 dB 3:26 04-Pipeline
DR14 -4.00 dB -22.83 dB 5:10 05-Garota de Ipanema
DR13 -3.44 dB -19.62 dB 7:03 06-Rainy Days and Mondays
DR11 -2.78 dB -18.46 dB 6:00 07-That's the Way I've Always Heard It Should Be
DR12 -3.53 dB -20.24 dB 4:26 08-Slow Hot Wind
DR11 -1.06 dB -16.48 dB 5:07 09-Betcha by Golly, Wow
DR13 -4.38 dB -20.23 dB 4:19 10-And I Love Her
DR13 -4.10 dB -20.46 dB 6:39 11-'Round Midnight (Thelonious Monk)
DR11 -4.05 dB -18.88 dB 4:32 12-This Nearly Was Mine
--------------------------------------------------------------------------------
Number of tracks: 12
Maximum peak difference (-1.06 dB - -5.55 dB): 4.49 dB
Official DR value (Song Mode): DR12
==============================================================