(Hard Rock)[LP] [24/96] Nutz - Nutz Too (UK 1st pressing) - 1975, FLAC (tracks+.cue)

A1 Nature Intended 2:50
A2 I Want Never Gets 4:14
A3 Take It From Me 3:55
A4 Change's Coming 3:16
A5 Dear Diary 2:58
A6 Is It All For Real 2:54
B1 Cool Me Down 4:48
B2 R.S.D. 3:38
B3 The Love You Lost 3:33
B4 Sinner 2:55
B5 Knife Edge 3:20

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.

Analyzed: Nutz / Nutz Too [Original UK LP]
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DR Peak RMS Duration Track
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DR12 -1.69 dB -16.61 dB 2:50 01-Nature Intended
DR13 -2.18 dB -17.39 dB 4:13 02-I Want Never Gets
DR15 -1.25 dB -18.46 dB 3:35 03-Take It From Me
DR12 -2.31 dB -15.81 dB 3:17 04-Change's Coming
DR15 -1.50 dB -18.49 dB 2:58 05-Dear Diary
DR13 -1.95 dB -16.70 dB 2:54 06-Is It All For Real
DR14 -0.16 dB -17.24 dB 4:42 07-Cool Me Down
DR13 -2.70 dB -20.67 dB 3:37 08-R.S.D.
DR15 -3.38 dB -22.60 dB 3:34 09-The Love You Lost
DR12 -2.53 dB -16.81 dB 2:55 10-Sinner
DR13 -1.46 dB -16.73 dB 3:22 11-Knife Edge
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Number of tracks: 11
Maximum peak difference (-0.16 dB - -3.38 dB): 3.22 dB

Official DR value (Song Mode): DR13

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.