(Progressive Rock)[LP] [24/96] Van Der Graaf Generator - The Aerosol Grey Machine, The Least We Can Do Is Wave To Each Other, H to He, Who am the Only One, Pawn Hearts, Still Life, World Record, A Grounding In Numbers,(1969-2011) FLAC (tracks)

01 Afterwards
02 Orthenthian St (Part I)
03 Orthenthian St (Part II)
04 Running Back
05 Into a Game
06 Aerosol Grey Machine
07 Black Smoke Yen
08 Aquarian
09 Necromancer
10 Octopus

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-04-21 09:43:50

--------------------------------------------------------------------------------
Analyzed: ? / ?
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR9 -2.56 dB -13.53 dB 4:57 ?-01 Afterwards
DR12 -1.82 dB -17.02 dB 2:24 ?-02 Orthenthian St (Part I)
DR10 -1.91 dB -16.08 dB 3:54 ?-03 Orthenthian St (Part II)
DR10 -3.64 dB -18.44 dB 6:36 ?-04 Running Back
DR11 -1.06 dB -15.07 dB 7:05 ?-05 Into a Game
DR10 -1.18 dB -13.89 dB 0:46 ?-06 Aerosol Grey Machine
DR11 -1.75 dB -14.39 dB 1:20 ?-07 Black Smoke Yen
DR10 -1.45 dB -13.55 dB 8:25 ?-08 Aquarian
DR10 -2.11 dB -15.81 dB 3:41 ?-09 Necromancer
DR10 -3.39 dB -15.85 dB 8:01 ?-10 Octopus
--------------------------------------------------------------------------------

Number of tracks: 10
Official DR value: DR10

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2796 kbps
Codec: FLAC
================================================================================

- Hugh Banton / piano, organ, backing vocals
- Keith Ellis / bass, backing vocals
- Guy Evans / drums, percussion
- Peter Hammill / lead vocals, acoustic guitar
- Jeff Peach / flute

TT: Clearaudio Champion Level II + Special Edition Denon 103
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400
Rec Software: Twisted Wave 1.9 – Adobe Audition CS 5.5 —> Wave 24/96
Light De-Clicking (if needed) on Audition, significant clicks manually removing, no De-Noising
Convert —> Flac 24/96: Twisted Wave
Artwork: Sony Alpha 350, Photoshop CS 5.5

1. Darkness (11/11) (7:27)
2. Refugees (6:22)
3. White Hammer (8:15)
4. Whatever Would Robert Have Said? (6:17)
5. Out Of My Book (4:07)
6. After The Flood (11:28)

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-04-21 09:41:16

--------------------------------------------------------------------------------
Analyzed: ? / ?
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR11 -0.03 dB -15.06 dB 7:29 ?-01 Darkness
DR10 -1.42 dB -15.71 dB 6:23 ?-02 Refugees
DR10 -1.94 dB -16.27 dB 8:18 ?-03 White Hammer
DR10 -3.64 dB -17.18 dB 6:08 ?-04 Whatever Would Robert Have Said
DR12 -2.38 dB -18.59 dB 4:07 ?-05 Out Of My Book
DR11 -0.78 dB -14.26 dB 11:30 ?-06 After The Flood
--------------------------------------------------------------------------------

Number of tracks: 6
Official DR value: DR11

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2736 kbps
Codec: FLAC
================================================================================

TT: Clearaudio Champion Level II + Special Edition Denon DL 103 –> Clearaudio Smartphono
TT: Pro-Ject RPM 6 SB + Sumiko Evolution III –> Pro-Ject Phono Box II
Pre Amp: Unison Research Unico Pre (Tube)
Finals: Opera Consonance 9.9 Mono (Tube)
Speakers: Dali Helikon 400
Rec Software: Twisted Wave 1.9 – Adobe Audition CS 5.5 —> Wave 24/96
Light De-Clicking (if needed) on Audition, significant clicks manually removing, no De-Noising
Convert —> Flac 24/96: Twisted Wave
Artwork: Sony Alpha 350, Photoshop CS 5.5

01. Killer
02. House With No Door
03. The Emperor In His War Room
i. The Emperor
ii. The Room

04. Lost
i. Dance in sand and sea
ii. Dance in frost
05. The Pioneers Over C

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-04-21 09:43:21

--------------------------------------------------------------------------------
Analyzed: Van Der Graaf Generator / H to He, Who am the Only One [24-96]
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -0.10 dB -15.58 dB 8:24 ?-Killer
DR11 -4.89 dB -19.49 dB 6:37 ?-House With No Door
DR12 -2.52 dB -17.51 dB 8:19 ?-The Emperor In His War Room
DR12 -0.10 dB -15.61 dB 11:17 ?-Lost
DR12 -0.70 dB -17.67 dB 12:44 ?-The Pioneers Over C
--------------------------------------------------------------------------------

Number of tracks: 5
Official DR value: DR12

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2648 kbps
Codec: FLAC
================================================================================

Guy Evans: Drums, Tympani, Percussion
Hugh Banton: Hammond and Farfisa organs, piano, oscillator, vocals, bass on House and Pioneers
Peter Hammill: Lead vocals, acoustic guitar, piano on House
David Jackson: Alto, tenor and baritone saxophones and devices, flute and vocals
Nic Potter: Bass on Killer, Emperor and Lost
Robert Fripp: Guitar on Emperor
Arrangements by the band
Produced by John Anthony

Knosti RCM.
Pink Triangle LPT with
Funk Firm Achromat.
Moth Arm 1 (Rega RB 250).
Audio Technica AT33PTG MC Cart.
Harman Kardon HK990 Integrated Amp.
Gold Interconnects. Creative S80300 External ADC.
Creative WaveStudio 7 Recording Software.
Split and manual de-click with Adobie Audition 3.0.1
Click Repair 3.7

01. Lemmings (Including COG)
02. Man-Erg
03. Eyewitness
04. Pictures / Lighthouse
05. Eyewitness
06. S.H.M
07. Presence Of The Night
08. Kosmos Tours
09. Custard's) Last Stand
10. The Clot Thickens
11. Land's End (Sineline)
12. We Go Now

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-04-20 22:15:05

--------------------------------------------------------------------------------
Analyzed: Van Der Graaf Generator / Pawn Hearts
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -0.01 dB -17.61 dB 11:42 ?-Lemmings (Including COG)
DR13 -0.10 dB -15.98 dB 10:24 ?-Man-Erg
DR13 -0.10 dB -18.11 dB 2:29 ?-Eyewitness
DR13 -4.11 dB -27.10 dB 1:43 ?-Pictures / Lighthouse
DR12 -4.11 dB -21.16 dB 2:36 ?-Eyewitness
DR13 -0.68 dB -15.92 dB 1:44 ?-S.H.M
DR13 -9.55 dB -25.69 dB 2:03 ?-Presence Of The Night
DR11 -0.10 dB -14.06 dB 3:01 ?-Kosmos Tours
DR11 -0.10 dB -14.36 dB 2:41 ?-Custard's) Last Stand
DR7 -0.10 dB -14.29 dB 0:20 ?-The Clot Thickens
DR12 -0.60 dB -15.62 dB 2:38 ?-Land's End (Sineline)
DR11 -0.10 dB -14.87 dB 3:51 ?-We Go Now
--------------------------------------------------------------------------------

Number of tracks: 12
Official DR value: DR12

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2927 kbps
Codec: FLAC
================================================================================

Van Der Graaf Generator – Pawn Hearts (1971) UK 2nd press LP @ 96/24 + Redbook

Posted by Euripides @ April 20th, 2012

Van Der Graaf Generator – Pawn Hearts (1971)
Original UK pressing, Charisma CAS 1051, Mastered by Porky
Vinyl rip in 96Khz/24bit & 44.1Khz/16bit | FLAC | M3U, MD5
Artwork | DR Analysis | Hi-Res: 942 MB / CD: 253 MB inc. 3% recovery
Links: RS, FF | Progressive Rock

‘Pawn Hearts’ is the VDG’s finest hour AFAIC. ‘Prog Rock’ at it’s most absurdist and deeply comically pompous best. Love it. Managed to find a clean copy too…

Review by Bruce Eder Allmusic.com (7/10)

Van Der Graaf Generator’s third album, Pawn Hearts was also its second most popular; at one time this record was a major King Crimson cult item due to the presence of Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, “Lemmings,” calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant. Peter Hammill vocalizes in a more traditional way on “Man-Erg,” against shimmering organ swells and Guy Evans’ very expressive drumming, before the song goes off on a tangent by way of David Jackson’s saxes and some really weird time signatures — plus some very pretty acoustic and electric guitar work by Hammill himself and Fripp. The monumental “Plague of Lighthouse Keepers,” taking up an entire side of the LP, shows the same kind of innovation that characterized Crimson’s first two albums, but without the discipline and restraint needed to make the music manageable. The punning titles of the individual sections of this piece (which may have been done for the same reason that Crimson gave those little subtitles to its early extended tracks, to protect the full royalties for the composer) only add to the confusion. As for the piece itself, it features enough virtuoso posturing by everyone (especially drummer Guy Evans) to fill an Emerson, Lake & Palmer album of the same era, with a little more subtlety and some time wasted between the interludes. The 23-minute conceptual work could easily have been trimmed to, say, 18 or 19 minutes without any major sacrifices, which doesn’t mean that what’s here is bad, just not as concise as it might’ve been. But the almost operatic intensity of the singing and the overall performance also carries you past the stretches that don’t absolutely need to be here. The band was trying for something midway between King Crimson and Genesis, and came out closer to the former, at least instrumentally. Hammill’s vocals are impassioned and involving, almost like an acting performance, similar to Peter Gabriel’s singing with Genesis, but the lack of any obviously cohesive ideas in the lyrics makes this more obscure and obtuse than any Genesis release.

I’ll add: This is one that I strayed upon early in my musical upbringing… and it stuck. God knows why it did because it barely represents my main interests but as in many fields of music, there is one that stands out of the crown, and for me, this is THE ‘prog-rock’ album. It has everything, mad time signatures, pompous singing, daft keyboard bonanzas, guitar solos, drums that are about as ‘funky’ as a slug, ambient bits, you name it. And it’s ‘dark’. Well just try not to laugh at some of the overblown imagery but then don’t try and think about it all too hard. Above all, have fun! Oh, this one is especially dedicated to one of our Australian friends who I was conversing with recently who requested this, just as I was lining up the files to RAR them! Weird that. Here you go buddy.

Van Der Graaf Generator – Pawn Hearts (1971)
Original UK pressing, Charisma CAS 1051, Mastered by Porky
Vinyl rip in 96Khz/24bit & 44.1Khz/16bit | FLAC | M3U, MD5
Artwork | DR Analysis | Hi-Res: 942 MB / CD: 253 MB inc. 3% recovery
Links: RS, FF | Progressive Rock

‘Pawn Hearts’ is the VDG’s finest hour AFAIC. ‘Prog Rock’ at it’s most absurdist and deeply comically pompous best. Love it. Managed to find a clean copy too…

Review by Bruce Eder Allmusic.com (7/10)

Van Der Graaf Generator’s third album, Pawn Hearts was also its second most popular; at one time this record was a major King Crimson cult item due to the presence of Robert Fripp on guitar, but Pawn Hearts has more to offer than that. The opening track, “Lemmings,” calls to mind early Gentle Giant, with its eerie vocal passages (including harmonies) set up against extended sax, keyboard, and guitar-driven instrumental passages, and also with its weird keyboard and percussion interlude, though this band is also much more contemporary in its focus than Gentle Giant. Peter Hammill vocalizes in a more traditional way on “Man-Erg,” against shimmering organ swells and Guy Evans’ very expressive drumming, before the song goes off on a tangent by way of David Jackson’s saxes and some really weird time signatures — plus some very pretty acoustic and electric guitar work by Hammill himself and Fripp. The monumental “Plague of Lighthouse Keepers,” taking up an entire side of the LP, shows the same kind of innovation that characterized Crimson’s first two albums, but without the discipline and restraint needed to make the music manageable. The punning titles of the individual sections of this piece (which may have been done for the same reason that Crimson gave those little subtitles to its early extended tracks, to protect the full royalties for the composer) only add to the confusion. As for the piece itself, it features enough virtuoso posturing by everyone (especially drummer Guy Evans) to fill an Emerson, Lake & Palmer album of the same era, with a little more subtlety and some time wasted between the interludes. The 23-minute conceptual work could easily have been trimmed to, say, 18 or 19 minutes without any major sacrifices, which doesn’t mean that what’s here is bad, just not as concise as it might’ve been. But the almost operatic intensity of the singing and the overall performance also carries you past the stretches that don’t absolutely need to be here. The band was trying for something midway between King Crimson and Genesis, and came out closer to the former, at least instrumentally. Hammill’s vocals are impassioned and involving, almost like an acting performance, similar to Peter Gabriel’s singing with Genesis, but the lack of any obviously cohesive ideas in the lyrics makes this more obscure and obtuse than any Genesis release.

I’ll add: This is one that I strayed upon early in my musical upbringing… and it stuck. God knows why it did because it barely represents my main interests but as in many fields of music, there is one that stands out of the crown, and for me, this is THE ‘prog-rock’ album. It has everything, mad time signatures, pompous singing, daft keyboard bonanzas, guitar solos, drums that are about as ‘funky’ as a slug, ambient bits, you name it. And it’s ‘dark’. Well just try not to laugh at some of the overblown imagery but then don’t try and think about it all too hard. Above all, have fun! Oh, this one is especially dedicated to one of our Australian friends who I was conversing with recently who requested this, just as I was lining up the files to RAR them! Weird that. Here you go buddy.

Audio philosophy: Stay out of the way of the music.

Artwork:
Source: www various
Quality: Mediocre
Contains: Various sleeve and label artwork, Printable CD case and dvd-a images.

This LP’s school report: (A-), Condition: EX
Deadwax info:
A: N/A / B: N/A

A1 Pilgrims 7:13
A2 Still Life 7:24
A3 La Rossa 9:52
B1 My Room (Waiting For Wonderland) 8:03
B2 Childlike Faith In Childhood’s End 12:24

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-04-28 14:41:21

--------------------------------------------------------------------------------
Analyzed: ? / ?
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -2.12 dB -17.17 dB 7:12 ?-A1 Pilgrims-cr
DR12 -1.95 dB -19.80 dB 7:23 ?-A2 Still Life-cr
DR11 -0.95 dB -16.87 dB 9:51 ?-A3 La Rossa-cr
DR13 -2.55 dB -18.95 dB 8:00 ?-B1 My Room (Waiting for Wonderland)-cr
DR14 0.00 dB -18.18 dB 12:26 ?-B2 Childlike Faith in Childhood's End-cr
--------------------------------------------------------------------------------

Number of tracks: 5
Official DR value: DR12

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2694 kbps
Codec: FLAC
================================================================================

Credits

•Alto Saxophone, Tenor Saxophone, Soprano Saxophone, Saxophone [Acoustically, Electronically & Collectively], Flute – David Jackson
•Drums, Percussion – Guy Evans
•Engineer – Pat Moran
•Guitar, Organ, Piano, Mellotron, Pedalboard [Bass Pedals] – Hugh Banton
•Guitar, Piano, Vocals, Written-By – Peter Hammill
•Mastered By [Cut] – Arun*
•Photography By [Back Cover] – Mike Van Der Vord
•Photography By [Front Cover] – Paul Brierley
•Producer – Van Der Graaf Generator

Recorded and mixed at Rockfield Studios between June 9 – 29, 1975 and January 12 – 25, 1976.
Cut at CBS.
“Arun also did the final cut of ‘Godbluff’ – time prevented due credit appearing among its notes”

Ripping Infos
•RCM: Okki Nokki
•TT: Clearaudio Champion Level II + Special Edition Denon DL 103 -> Pro-Ject Phono Box II
•Pre Amp: Unison Research Unico Pre (Tube)
•Finals: Opera Consonance 9.9 Mono (Tube)
•Speakers: Dali Helikon 400
•Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 -> Wave 32 bit/96 kHz
•Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there? Who cares?
I better let some light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
•DR-Analisys before converting to Flac
•Converting Wave 32bit/96kHz -> Flac 24bit/96kHz: Twisted Wave
•Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 When She Comes-cr
A2 A Place To Survive-cr
A3 Masks-cr
B1 Meurglys III The Songwriter's Guild-cr
B2 Wondering-cr

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-05-11 17:40:03

--------------------------------------------------------------------------------
Analyzed: ? / ?
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -1.15 dB -17.75 dB 8:02 ?-A1 When She Comes-cr
DR12 -2.44 dB -18.17 dB 10:03 ?-A2 A Place To Survive-cr
DR13 -1.55 dB -18.51 dB 7:02 ?-A3 Masks-cr
DR14 0.00 dB -18.37 dB 20:50 ?-B1 Meurglys III The Songwriter's Guild-cr
DR12 -1.37 dB -17.35 dB 6:38 ?-B2 Wondering-cr
--------------------------------------------------------------------------------

Number of tracks: 5
Official DR value: DR13

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2620 kbps
Codec: FLAC
================================================================================

•Art Direction – Frank Sansom
•Bass [Manuals And Pedals Manuel And His Music Of The Pedallos] – Hugh Banton
•Design [Sleeve] – A.D. Design
•Drums, Percussion, Cymbal, Other [Fingerpop] – Guy Evans
•Engineer – Pat Moran
•Mastered By [The Cut] – Arun
•Producer – Van Der Graaf Generator
•Saxophone [Alto, Tenor, Soprano, Accoutrements], Flute [All In The Grotto] – David Jackson
•Vocals [Vox], Guitar [Meurglys III And Wassistderpunktenbacker], Lyrics By – Peter Hammill
•Written-By – Hammill

•RCM: Okki Nokki
•TT: Clearaudio Champion Level II
•System: Special Edition Denon DL 103
•Phono stage: Pro-Ject Phono Box II
•Pre Amp: Unison Research Unico Pre (Tube)
•Finals: Opera Consonance 9.9 Mono (Tube)
•Speakers: Dali Helikon 400
•Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 -> Wave 32 bit/96 kHz
•Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there? Who cares?
I better let some light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
•DR-Analisys before converting to Flac
•Converting Wave 32bit/96kHz -> Flac 24bit/96kHz: Twisted Wave
•Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

A1 Your Time Starts Now-cr
A2 Mathematics-cr
A3 Highly Strung-cr
A4 Red Baron-cr
A5 Bunsho-cr
A6 Snake Oil-cr
B1 Splink-cr
B2 Embarrassing Kid-cr
B3 Medusa-cr
B4 Mr. Sands-cr
B5 Smoke-cr
B6 5533-cr
B7 All Over The Place-cr
Bonus Single A - Highly Strung-cr
Bonus Single B - Elsewhere-cr

foobar2000 1.1.10 / Dynamic Range Meter 1.1.1
log date: 2012-05-10 16:24:40

--------------------------------------------------------------------------------
Analyzed: ? / ?
--------------------------------------------------------------------------------

DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR12 -1.96 dB -18.73 dB 4:16 ?-A1 Your Time Starts Now-cr
DR13 -2.68 dB -21.14 dB 3:40 ?-A2 Mathematics-cr
DR11 -1.58 dB -14.31 dB 3:39 ?-A3 Highly Strung-cr
DR15 -3.63 dB -21.22 dB 2:21 ?-A4 Red Baron-cr
DR12 -2.16 dB -16.69 dB 5:03 ?-A5 Bunsho-cr
DR12 -1.59 dB -16.37 dB 5:25 ?-A6 Snake Oil-cr
DR13 -5.42 dB -20.56 dB 2:38 ?-B1 Splink-cr
DR12 -1.98 dB -15.08 dB 3:07 ?-B2 Embarrassing Kid-cr
DR12 -4.89 dB -20.33 dB 2:13 ?-B3 Medusa-cr
DR11 -2.54 dB -16.63 dB 5:21 ?-B4 Mr. Sands-cr
DR13 -1.90 dB -16.34 dB 2:31 ?-B5 Smoke-cr
DR14 -2.97 dB -18.58 dB 2:40 ?-B6 5533-cr
DR12 -4.15 dB -20.17 dB 6:07 ?-B7 All Over The Place-cr
DR11 -2.34 dB -15.02 dB 3:44 ?-Bonus Single A - Highly Strung-cr
DR15 -1.80 dB -22.42 dB 4:21 ?-Bonus Single B - Elsewhere-cr
--------------------------------------------------------------------------------

Number of tracks: 15
Official DR value: DR13

Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2643 kbps
Codec: FLAC
================================================================================

•Coordinator [Additional] – Vicky Powell
•Coordinator [Project] – Mark Powell
•Design, Artwork By – Paul Ridout
•Drums, Percussion – Guy Evans
•Engineer – Mark Ellis
•Engineer [Pro Tools & Additional] – Cesar Gimino Lavin
•Management – Gail Colson
•Mastered By – Tim Young
•Mixed By – Hugh Padgham
•Organ, Bass, Harpsichord, Piano, Glockenspiel, Bass [10 String] – Hugh Banton
•Photography [Original 'band Head'] – Jessica Nerstrand
•Technician [Studio Assistant] – Scott Knapper
•Vocals, Piano, Guitar – Peter Hammill
•Written-By – Evans, Banton, Hammill

•RCM: Okki Nokki
•TT: Clearaudio Champion Level II
•System: Special Edition Denon DL 103
•Phono stage: Pro-Ject Phono Box II
•Pre Amp: Unison Research Unico Pre (Tube)
•Finals: Opera Consonance 9.9 Mono (Tube)
•Speakers: Dali Helikon 400
•Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5 -> Wave 32 bit/96 kHz
•Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising

You hear some clicks and pops here and there? Who cares?
I better let some light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.
•DR-Analisys before converting to Flac
•Converting Wave 32bit/96kHz -> Flac 24bit/96kHz: Twisted Wave
•Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5