(Hard Bop) [LP][24/96] Cannonball Adderley - Nippon Soul - 1963 (1st Dutch Mono pressing), FLAC (tracks)

Cannonball Adderley Sextet - Nippon Soul Жанр: Hard Bop Год выпуска: 1963 Лейбл: Riverside – RM 477 (MONO) Страна-производитель: Holland Аудио кодек: FLAC Тип рипа: tracks Формат записи: 24/96 Формат раздачи: 24/96 Продолжительность: 46:16 Треклист: Side One: A1 Nippon Soul (Nihon No Soul) (09:31) A2 Easy To Love (03:46) A3 The Weaver (10:50) Side Two: B1 Tengo Tango (02:33) B2Come Sunday (06:57) B3Brother John (12:57)Personnel: – Julian "Cannonball" Adderley - alto sax – Nat Adderley - cornet – Yusef Lateef - flute, oboe & tenor sax – Joe Zawinul - piano – Sam Jones - bass – Louis Hayes - drumsRecorded in concert at Sankei Hall, Tokyo, Japan, on July 14 and 15, 1963 Originally released in 1963 by Riverside Records (US) LP- RM 477/RS 9477 «Nippon Soul» - отличный "живой" джазовый альбом, записанный секстетом Джулиана "Кэннонболла" Эддерли на концерте в Sankei Hall, во время гастролей по Японии. Этот состав группы Кэннонболла считается один из лучших: помимо самого Эддерли на альт-саксофоне, здесь играют его брат, корнетист Нэт, пианист Джо Завинул, великолепный Юзеф Латиф (тенор-сакс, гобой), басист Сэм Джонс и ударник Луис Хейс. Чего стоит тоько импровизации Эддерли в теме "The Weaver", или протяжные соло Латифа на гобое (в духе Джона Колтрейна) в посвящении "Brother John"...Источник оцифровки: Рип взят из сети. Автор: Аnonymous* (*по просьбе автора) Код класса состояния винила: Неизвестно  Ripping Info:Technique: * Rega RP1 turntable * Denon DL-110 high output moving coil cartridge * Graham Slee Gram Amp 2 phono pre * Tascam US-122 mkII USB interface * Neutrik interconnects * Knosti RCMiZotope RX 2 for declicking and normalizing Peak Pro 5 for splitting into individual tracks files fully tagged in iTunes XLD for FLAC conversion Fujifilm X100 camera for high-resolution sleeve and label reproductionsRipping and post processing: For the fun of it, here’s a very detailed account of all the steps involved in making my vinyl rips. I will only keep posting this a few times and will go back to the “minimalist” version soon enough. I wish you pleasant reading:CLEANINGMost of my used jazz records are cleaned on an Okki Nokki machine at one of my local record stores. At home I also have one of those Knosti Disco Antistat cheapo machines, in case I want to “scrub” some more.PREPARATIONSSetting up the cartridge using the Rega protractor, setting anti-skating and tracking force was all done carefully, using the recommended values by Denon and Rega. I then set levels on my TASCAM by putting on a mono record (a minty old record cut on a real mono lathe) and adjusting each level individually until I get a fairly clean mono signal on my computer, by observing left and right channel levels. I then repeat this with other mono records and also with stereo records, comparing in that case to the CD version and listening with headphones. Not all records are cut the same and you will have some different channel balance from record to record, but usually my right channel will end up being set up a little bit louder than the left channel. I set my general levels so that I get an average level of -6 db. No clipping occurs in this case, even with louder cuts.RECORDINGI record both sides in one 24 bit/96 kHz file, usually using the app Soundtrack Pro.DECLICKING AND POSTPROCESSINGThen the real work starts. For all steps I use headphones connected to my MacBook Pro and the combined spectral/waveform view in RX2 Advanced. I load the file into Izotope RX 2 and usually first start working on the silence between tracks. I process these sections using a fairly high declicking value (M-band decklicker, random clicks), usually set at 5.0 to 6.6. I might use some de-humming for these parts, this usually cleans up bass-heavy noise floor a bit. My de-humming is dialed in for the Rega table, as these arms do tend to hum a bit (at about -57 db), especially towards the centre of the record. For any stray swooshing noises that are left, I use the Spectral Repair (standard mode Attenuate). But generally I like to have a fairly natural groove noise, so declicking usually suffices.SPLITTING TRACKSI split the tracks using Peak Pro 5.2. My markers are close to the beginning of a track, the pause before is barely noticeable. I do this because I like instant gratification and don’t like hearing a second or so of silence when I press play to hear a track. Also, with cross-faded tracks (or very small pauses between) I like to find a point that is musically pleasant in case you later hear the isolated track without the one preceding it......  Dynamic Range Analysis:========================================================================== ---------------------------------------------------------------------------------------------- Analyzed folder: /Users/Cristian/Downloads/Cannonball Adderley - Nippon Soul {Dutch mono} ---------------------------------------------------------------------------------------------- DR Peak RMS Filename ---------------------------------------------------------------------------------------------- DR12 -0.32 dB -15.90 dB 01 Nippon Soul.m4a DR11 -1.33 dB -14.16 dB 02 Easy to Love.m4a DR11 -0.79 dB -14.37 dB 03 The Weaver.m4a DR12 -0.33 dB -14.71 dB 04 Tengo Tango.m4a DR14 -3.38 dB -21.10 dB 05 Come Sunday.m4a DR12 -1.41 dB -15.67 dB 06 Brother John.m4a ---------------------------------------------------------------------------------------------- Number of files: 6 Official DR value: DR12 ==========================================================================  Спектр  АЧХ  Уровень записи