(Pop-Rock) [24/96] Phil Collins - Face Value [Japan LP (1st pressing) / Atlantic P-10984A] - 1981, FLAC (tracks+.cue)

Phil Collins: vocals, drums, percussion, vocoder, Roland drum machine, prophet on tracks A1, A2, A5, A6, B1, B4, B5, B6; Fender Rhodes, claps
John Giblin: bass on tracks A1, B2, B3, B4
Daryl Stuermer: guitars; banjo on track A4
Shankar: violins on tracks A1, A5, A6; tamboura on track A5, "voice drums" on track A5
Alphonso Johnson: bass on tracks A2, A3, A6, B1, B5
J. Peter Robinson: prophet on track A3
Joe Partridge: slide guitar on track A4
Stephen Bishop: background vocals on track A2
Eric Clapton: guitars on track B5
Arif Mardin: string arrangements on tracks B2 and B5

The Phenix Horns:
Don Myrick: alto sax, solo on track B5
Louis Satterfield: trombone
Rahmlee Michael Davis and Michael Harris: trumpets; flugelhorns on track B5
Ronnie Scott: tenor sax, solo on track B1

Other background vocals on track A6 by several children choirs in Los Angeles

Код класса состояния винила: не указано
#777RCM Hannl 'limited' with "Circulating Brush"
Устройство воспроизведения:
Music Hall MMF 9.1 Turntable
Tonearm: Pro-Ject 9cc evo with Pure Silver Wires
Cartridge: Nagaoka MP-500

Предварительный усилитель:
Brocksieper Phonomax (Tube Phono PreAmp) (temporarily replaced by "ProJect Tube-Box 2 SE)

АЦП:
E-MU 0404 external USB 2.0 Audiointerface
Interconnections : Silent Wire NF5

Программа-оцифровщик:
WaveLab 6 recording software

Обработка:
Vacuum cleaning > TT > Brocksieper Phonomax > E-MU 0404 > WaveLab 6 (24/192) > manual click removal >
analyze (no clipping, no DC Bias offset) > converted to 24/96 with iZotope RX Advanced 1.21
> split into individual Tracks > FLAC encoded (Vers. 1.21)

No silence been removed, please burn gapless to match original tracklayout.

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"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" © aksman