(Hard Rock) [LP] [24/96] AC/DC ‎– Let There Be Rock (1977) - 2003, FLAC (tracks+.cue)

Credits▼

Bass – Mark Evans (3)
Drums – Phil Rudd
Guitar – Angus Young, Malcolm Young
Vocals – Bon Scott

Engineer [Assistant] – Barry Wolifson, Chris Muth
Mastered By [Mastering Supervision] – Al Quaglieri, Mike Fraser
Mastered By [Remastering] – George Marino
Other [Additional Artifacts] – Albert Productions, Arnaud Durieux
Photography – Bob Gruen/Starfile, Jonathan Postal, Photofest
Producer – Vanda & Young
Written-By – Young*, Scott*, Young*

Notes▼

180-Gram Vinyl Reissue.
Including inner sleeve with liner notes and photos.

© 1977, 2003 J. Albert & Son (Pty.) Ltd.
(p) 1977 J. Albert & Son (Pty.) Ltd.
Distributed By Sony Music Entertainment.
All tracks published by J. Albert & Son (USA) Inc. (ASCAP).

Remastered from the original master tapes by George Marino at Sterling Sound.

Barcode and Other Identifiers▼

Barcode: 5099751076117

Technical Informations

Hannl"limited" Record Cleaning Machine with Rotating Brush
Music Hall MMF 9.1 Turntable
Tonearm Pro-Ject 9cc Evo with Pure Silver Wires
Nagaoka MP-500
Brocksieper Phonomax (Tube Phono-PreAmp)
E-MU 0404 external USB 2.0 Audiointerface
Silent Wire NF 5
Wavelab 6.1 recording software
iZotope RX Advanced 2.0

Vacuum Cleaning > TT > Brocksieper Phonomax > Laptop > Wavelab 6.1 (24/192) > manual click removal
analyze (no clipping, no DC Bias offset) > split into individual Tracks
> resampling and dither to 24/96 with iZotope RX Advanced > 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.

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Analyzed folder: D:\******\AC DC - Let There Be Rock (1977) [flac] {Sony 180g LP (EU 2009); CD-format}\
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DR Peak RMS Filename
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DR12 -1.00 dB -14.22 dB A1 - Go Down.wav
DR12 -0.68 dB -14.13 dB A2 - Dog Eat Dog.wav
DR11 -1.05 dB -13.31 dB A3 - Let There Be Rock.wav
DR11 -1.41 dB -14.03 dB A4 - Bad Boy Boogie.wav
DR11 -1.63 dB -14.13 dB B1 . Problem Child.wav
DR11 -1.20 dB -14.23 dB B2 - Overdose.wav
DR12 -1.64 dB -15.18 dB B3 - Hell Ain't a Bad Place to Be.wav
DR12 -1.32 dB -14.56 dB B4 - Whole Lotta Rosie.wav
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Number of files: 8
Official DR value: DR11

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