[24/192] AC/DC - Live At River Plate - 2011, Vinyl Rip torrent

AC/DC - Live At River Plate - 2011

limited 7" release for Record Store Day 2011 / Cat.# 88697 86711 7

Mastered by George Marino @ Sterling Sound, NYC

EP, Vinyl Rip in 24/192, FLAC (tracks+.cue)

Rip by aksman

Tracklist

A - Shoot To Thrill 5:53
Written-By – A. Young*, B. Johnson*, M. Young*

B - War Machine 3:33
Written-By – A. Young*, M. Young*

Credits

Bass Guitar – Cliff Williams
Design – Dave Bett*
Drums – Phil Rudd
Lead Guitar – Angus Young
Mastered By – George Marino
Photography By – C. Taylor Crothers
Recorded By, Mixed By – Mike Fraser
Rhythm Guitar – Malcolm Young
Vocals – Brian Johnson

Barcode and Other Identifiers

Barcode: 886978671172
Matrix Number (Run-out Side A): 88697867117 BB32165-01 A1 HL
Matrix Number (Run-out Side B): 88697867117 BB32165-01 B1 HL
Other (Label Code): LC00162
Other (Rights Societies): BIEM/GEMA

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 2.00 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) > 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.