[24/96] Led Zeppelin - Coda - 1982, Vinyl Rip torrent

Led Zeppelin - Coda - 1982

Classic Records 200g LP / Swan Song 90051-200, USA

LP, Vinyl Rip, 24/96, FLAC (tracks+.cue)

Rip by aksman

A1 We're Gonna Groove 2:36
Engineer – Andy Johns

A2 Poor Tom 3:03
Engineer – Andy Johns

A3 I Can't Quit You Baby 4:16
Engineer – Vic Maile

A4 Walter's Walk 4:24
Engineer – Eddie Kramer

B1 Ozone Baby 3:35
Engineer – Leif Masses*

B2 Darlene 5:04
Engineer – Leif Masses*

B3 Bonzo's Montreaux 4:15
Engineer – John Timperly*
Electronics [Electronics Treatments] – Jimmy Page

B4 Wearing And Tearing 5:27
Engineer – Leif Masses*

Personnel
John Bonham – drums, percussion
John Paul Jones – bass guitar, piano, keyboards
Jimmy Page – acoustic and electric guitar, production, electronic treatments
Robert Plant – lead vocals, harmonica

Identifiers
Matrix Number (Side 1): ST-SS-825101 SP BG
Matrix Number (Side 2): ST-SS-825102 SP BG

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

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.

Personal Note (from aksman)

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.