(Rock) [LP] [24/96] Supertramp - Even In The Quietest Moments - 1977, FLAC (tracks+.cue)

Personnel

Supertramp

Rick Davies - keyboards, vocals
John Helliwell - saxophones, vocals, clarinet, melodica on From Now On
Roger Hodgson - guitars, keyboards, vocals
Bob Siebenberg (credited as Bob C. Benberg) - percussion, drums
Dougie Thomson - bass

Other performers

Gary Mielke - Oberheim programming

Production (Original Release)

Producer: Supertramp
Engineers: Peter Henderson, Russel Pope
Assistant engineers: Tom Anderson, Tom Likes, Steve Smith
Mixing engineer: Geoff Emerick
Remixing: Tom Anderson
Mastering on original LP: Frank DeLuna
Re-mastering: Greg Calbi, Jay Messina
Programming: Gary Mielke
Orchestral arrangements: Michel Colombier, Supertramp
Art direction: Mike Doud
Design: Mike Doud
Photography: Kenneth McGowan, Bob Seidemann

Technical Log

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 1.21 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) > 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.

Personal Note

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