(Classic Rock) [LP] [24/96] Dire Straits - Love Over Gold (1982) - 2010, FLAC (tracks+.cue)

Credits▼

Artwork By – Michael Rowe
Composed By, Producer – Mark Knopfler
Engineer – Barry Bongiovi, Neil Dorfsman
Mastered By – Bob Ludwig
Photography – Alan Lobel, Peter Cunningham

Notes▼

(P) 1982 Chariscourt Ltd.

(P) 1982 Phonogram Ltd. London
(C) 1982 Phonogram Ltd. London

2010 re-issue. Pressed by Pallas in Germany. Mastered by Bernie Grundman from the original analogue tapes.

Barcode and Other Identifiers▼

Barcode: 093624969693

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 (16/44.1) 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 (from aksman)

With my vinyl rips I try to catch the whole beauty of records. Therefore I don't use any post-processing or any sound improver. 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 for each side. Resistant ticks and clicks I try to remove as good as possible, but the priority is not to loose any musical information.
Surface noises, as long they are not to high, are left in place. Only on bad pressings or on records recorded with extremly low level I do a fade in-/-out. As John Peel said, 'Life is full of surface noises'.
In some cases this means I have to do a compromise... The result has to pass my personal quality criteria which is IMO quite high.