(Free Jazz,Modern Free,Post-Bop)[LP][24/96]John Coltrane - Coltrane's Sound - 1964, FLAC (tracks+.cue)
John Coltrane - Coltrane's Sound
Жанр: Free Jazz,Modern Free,Post-Bop
Год выпуска: 1964
Лейбл: Atlantic SD-1419 (8122798050)/Mastered by Bernie Grundman from the original analog Mastertapes
Rhino 180g LP
Страна-производитель: E.U
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24-bit/192kHz
Формат раздачи: 24/96
Источник оцифровки: aksman
Продолжительность: 37:58
Треклист:
Side one
1. "The Night Has A Thousand Eyes" Buddy Bernier, Jerry Brainin 6:42
2. "Central Park West" John Coltrane 4:12
3. "Liberia" John Coltrane 6:45
Side two
1. "Body and Soul" Edward Heyman, Robert Sour, Frank Eyton, Johnny Green 5:35
2. "Equinox" John Coltrane 8:33
3. "Satellite" John Coltrane 5:48
Personnel:
John Coltrane — soprano saxophone on "Central Park West" ; tenor saxophone on all except "Central Park West"
McCoy Tyner — piano
Steve Davis — bass
Elvin Jones — drums
Production personnel
Nesuhi Ertegün — production
Tom Dowd — engineering
Marvin Israel — photography
Ralph J. Gleason — liner notes
Жанр: Free Jazz,Modern Free,Post-Bop
Год выпуска: 1964
Лейбл: Atlantic SD-1419 (8122798050)/Mastered by Bernie Grundman from the original analog Mastertapes
Rhino 180g LP
Страна-производитель: E.U
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24-bit/192kHz
Формат раздачи: 24/96
Источник оцифровки: aksman
Продолжительность: 37:58
Треклист:
Side one
1. "The Night Has A Thousand Eyes" Buddy Bernier, Jerry Brainin 6:42
2. "Central Park West" John Coltrane 4:12
3. "Liberia" John Coltrane 6:45
Side two
1. "Body and Soul" Edward Heyman, Robert Sour, Frank Eyton, Johnny Green 5:35
2. "Equinox" John Coltrane 8:33
3. "Satellite" John Coltrane 5:48
Personnel:
John Coltrane — soprano saxophone on "Central Park West" ; tenor saxophone on all except "Central Park West"
McCoy Tyner — piano
Steve Davis — bass
Elvin Jones — drums
Production personnel
Nesuhi Ertegün — production
Tom Dowd — engineering
Marvin Israel — photography
Ralph J. Gleason — liner notes
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 2.00 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) > 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.
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 2.00 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) > 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.
Dynamic Range Analysis
--------------------------------------------------------------------------------
Analyzed: John Coltrane / Coltrane's Sound [Rhino 180g LP]
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.20 dB -18.04 dB 6:50 01-The Night Has A Thousand Eyes
DR12 -6.08 dB -23.24 dB 4:14 02-Central Park West
DR13 -3.58 dB -19.51 dB 6:49 03-Liberia
DR12 -4.18 dB -20.32 dB 5:38 04-Body and Soul
DR16 -1.04 dB -22.12 dB 8:35 05-Equinox
DR11 -5.65 dB -20.85 dB 5:49 06-Satellite
--------------------------------------------------------------------------------
Number of tracks: 6
Maximum peak difference (-1.04 dB - -6.08 dB): 5.04 dB
Official DR value (Song Mode): DR13
================================================================================
Analyzed: John Coltrane / Coltrane's Sound [Rhino 180g LP]
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.20 dB -18.04 dB 6:50 01-The Night Has A Thousand Eyes
DR12 -6.08 dB -23.24 dB 4:14 02-Central Park West
DR13 -3.58 dB -19.51 dB 6:49 03-Liberia
DR12 -4.18 dB -20.32 dB 5:38 04-Body and Soul
DR16 -1.04 dB -22.12 dB 8:35 05-Equinox
DR11 -5.65 dB -20.85 dB 5:49 06-Satellite
--------------------------------------------------------------------------------
Number of tracks: 6
Maximum peak difference (-1.04 dB - -6.08 dB): 5.04 dB
Official DR value (Song Mode): DR13
================================================================================
Personal Note aksman
Personal Note
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.
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.
Disc