Egg - Egg
Жанр: Progressive Rock
Год выпуска: 1970
Лейбл: Decca Record, Deram, SDN 14, ZAL 9409P
Страна-производитель: Original UK Pressing
Аудио кодек: FLAC
Тип рипа: tracks+.cue
Формат записи: 24/192
Формат раздачи: 24/96
Продолжительность: 00:40:18
Треклист:
Side one
01 - "Bulb" (Peter Gallen) – 0:09
02 - "While Growing My Hair" (Clive Brooks, Mont Campbell, Dave Stewart) – 3:53
03 - "I Will Be Absorbed" (Brooks, Campbell, Stewart) – 5:10
04 - "Fugue In D Minor" (Bach) – 2:46
05 - "They Laughed When I Sat Down At The Piano…" (Brooks, Campbell, Stewart) – 1:17
06 - "The Song Of McGillicudie The Pusillanimous (or don't worry James, your socks are hanging in the coal cellar with Thomas)" (Brooks, Campbell, Stewart) – 5:07
07 - "Boilk" (Brooks, Campbell, Stewart) – 1:00
Side two
"Symphony No. 2" (Brooks, Campbell, Stewart) – 22:26
08 - Movement 1
09 - Movement 2
10 - Blane
11 - Movement 4
Credits & Notes
Companies etc▼
Recorded At – Lansdowne Studios
Recorded At – Trident Studios
Credits▼
Bass, Vocals – Mont Campbell
Drums – Clive Brooks
Organ, Piano, Audio Generator [Tone Generator] – Dave Stewart
Arranged By – Egg (2) (tracks: A4)
Design [Construction] – Peter Chapman (4)
Engineer – Peter Gallen, Roy Thomas Baker (tracks: A2)
Engineer [Assistant] – Les Cunningham
Photography By [Back Cover] – Rob Bennet
Photography By [Front Cover] – David Wedgbury
Producer – Egg (2)
Written-By – Brooks* (tracks: A2, A3, A5 to B1d), Stewart* (tracks: A2, A3, A5 to B1d), Bach* (tracks: A4),
Campbell* (tracks: A2, A3, A5 to B1d), Gallen* (tracks: A1)
Notes▼
Tracks A1, A3 to B1d recorded at Landsdowne Studios.
Track A2 recorded at Trident Studios.
Released on a red/silver Deram Nova label.
Initial copies were accompanied with a large poster.
Also released in mono (DN 14).
On the cover a duration of 3:14 is mentioned for an unnamed track between ''Blane'' and Movement 4''. This does not appear on the label.
Barcode and Other Identifiers▼
Matrix / Runout (Label A-side): ZAL 9409P
Matrix / Runout (Label B-side): ZAL 9410P
Источник оцифровки: Великий и "ужасный" Анонимус, AvaxHome
Код класса состояния винила: Ex
Устройство воспроизведения: VPI Scoutmaster
Головка звукоснимателя: Audio-Technica AT33PTG/II
Предварительный усилитель: Cinemag SUT feeding a Marantz 2220B
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
Phone Stage: Cinemag SUT feeding a Marantz 2220B
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 12:00:19
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