Emerson, Lake & Palmer - Emerson, Lake & Palmer
Жанр: Progressive Rock
Год выпуска: 1970
Лейбл: Island Records, ILPS-9132
Страна-производитель: Original UK Pressing
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24/192
Формат раздачи: 24/96
Продолжительность: 00:41:25
Треклист:
Side one
01 - "The Barbarian" (Béla Bartók, arr. Emerson, Lake & Palmer) – 4:27
02 - "Take a Pebble" (Lake) (arr. Emerson, Lake & Palmer, but not always credited) – 12:32
03 - "Knife-Edge" (Leoš Janáček & J. S. Bach, arr. Emerson, lyrics by Lake & Fraser) – 5:04
Side two
04 - "The Three Fates" (Emerson) – 7:46
a) - "Clotho" Royal Festival Hall Organ
b) - "Lachesis" Piano Solo
c) - "Atropos" Piano Trio (overdubbed pianos and percussion)
05 - "Tank" (Emerson & Palmer) – 6:49
06 - "Lucky Man" (Lake) – 4:36
Drums, Percussion – Carl Palmer
Keyboards – Keith Emerson
Vocals, Bass, Guitar – Greg Lake
Credits & Notes
Companies etc▼
Recorded At – Advision Studios
Printed By – E.J. Day Group
Manufactured By – E.J. Day Group
Credits▼
Arranged By, Directed By – Emerson, Lake & Palmer
Engineer – Eddie Offord*
Painting [Cover Painting] – Nic Dartnell
Producer – Greg Lake
Notes▼
Initial release on a pink Island label, this changed soon after release to the Pink-Rim version
Recorded at Advision.
Produced by Greg Lake For E. G. Records
Barcode and Other Identifiers▼
Matrix / Runout (A Side Etched): IPLS 9132 A-2
Matrix / Runout (B Side Etched): IPLS 9132 B-1
Источник оцифровки: Великий и "ужасный" Анонимус, AvaxHome
Код класса состояния винила: Ex
Устройство воспроизведения: VPI Scoutmaster
Головка звукоснимателя: Audio-Technica AT33PTG/II loaded at 121 ohms
Предварительный усилитель: Musical Surroundings Phonomena
АЦП: E-MU 1212
Программа-оцифровщик: Adobe Audition 3.01
Обработка: В технической информации
Спектр, АЧХ, Уровень записи
Доп. информация:
Техническая информация
Vinyl Ripping Process/Equipment
VPI 16.5 RCM
Turntable: VPI Scoutmaster
Tonearm: Trans-Fi Termninator
Cartridge: Audio-Technica AT33PTG/II loaded at 121 ohms
Phono Stage: Musical Surroundings Phonomena
Digital Interface: E-MU 1212
Recording Software: Adobe Audition 3.01
Recording Bitrate/Sample Rate: 192/24
Post Processing
Run thru ClickRepair at level 10 with
Pitch Protection | off
Reverse | on
Simple
Resample to 96khz in Izotope Rx2 using the default preset
Manually listen to album in Adobe Audition cleaning any clicks/anomalies
Flac with Xrecode II
What Exactly Is An "Ultimate Master"
It is more or less a catchphrase originally used to designate something was a hi-res rip. But since there seems to be a lot "similarly" named rips now I guess I should explain.
I try to present the "ultimate mastering" of a particular LP, the "mastering" is not my equipment or process but the source material, it has always been about finding the best source. Now my opinion of the best source is subject to change as I experience more variations. Whether or not folks think my rip is "definitive" is irrelevant to me, I just try to find the best pressing and don't mind doing the extra clean up that comes with not just ripping new reissues or japanese issues. I understand the appeal of these pressings but I don't subscribe to the notion that they represent the best source 95% of the time.
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发表于 2020-9-24 12:03:32
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