(Jazz-Rock) [LP] [24/96] Miles Davis - On The Corner - 1972, (Chick Corea, Herbie Hancock, John McLaughlin, Michael Henderson, Dave Liebman, Carlos Garnett, Harold I. Williams, David Creamer & more), FLAC (tracks+.cue)

Personnel
Miles Davis – electric trumpet with Wah Wah
Dave Liebman – soprano saxophone
Carlos Garnett – soprano and tenor saxophone
Chick Corea – electric piano
Herbie Hancock – electric piano, synthesizer
Harold I. Williams – organ, synthesizer
Lonnie Liston Smith – organ
John McLaughlin – electric guitar
David Creamer – electric guitar
Michael Henderson – electric bass with Wah Wah
Khalil Balakrishna - electric sitar
Bennie Maupin – bass clarinet
Collin Walcott – electric sitar
Badal Roy – tabla
Jack DeJohnette – drums
Al Foster - drums
Jabali Billy Hart – drums, bongos
Don Alias – percussion
James "Mtume" Foreman – percussion
Paul Buckmaster – cello

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
iZotope RX Advanced 1.21 for resampling and dithering
Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 (16/44.1) with iZotope RX Advanced 1.21
> 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.