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[blade2k]

The Doors – 1967 - Strange Days
Elektra EKL-4014, US Oct 1967, Mono, Vinyl in 24bit/96kHz by Prof. Stoned

The_Doors_-_1967_-_Strange_Days_[Elektra_EKL-4014,_vinyl_24-96].wv.iso.wv 38 clicks
Образец: 01._Strange_Days.flac 14 clicks

TRACKLIST

1. Strange Days  2. You're Lost Little Girl  3. Love Me Two Times  4. Unhappy Girl  5. Horse Latitudes  6. Moonlight Drive  7. People Are Strange  8. My Eyes Have Seen You  9. I Can't See Your Face in My Mind 10. When the Music's Over

All tracks Mono (see below for more info).
These mixes did never appear officially on CD.

Produced by Paul A. Rothchild
Recorded by Bruce Botnick at Sunset Sound Recorders, Hollywood, CA. March-May 1967

SPOILER (параметры рипа)

Hardware: - Technics 1210mk2 - Jelco SA-750D Tonearm (w/ JAC 501 cable) - Audio Technica AT-33PTG - Pro-Ject Tube Box SE-2 - Yamaha CA-1010 - RME ADI-2 A/D Interface Software: - Audition 3.0 used for adjusting DC bias. editing. (incl. manual removal of clicks and pops.. adding gain and making the cue points. - Click Repair 3.7 used with setting Cl: 15 Cr: 0 - CueListTool v1.7 & Mediaval CueSplitter used for generating the .cue's & .m3u's. Transfer & Restoration by Prof. Stoned

SPOILER (информация от автора рипа)

Prof sez: Here's another one in the series "essential in mono but not available on cd" for a change. This rip is taken from a clean US copy (made at the Monarch pressing plant), which was chosen after auditioning the three different cuttings that are known to exist. An essential album viewed from an entirely different angle. Nowadays very hard to find in ANY condition, this rare US mono version has become somewhat of an enigma (the UK mono is to be avoided, as this was a straight fold from the stereo mastertape that was delivered to Elektra's London headquarters). It has long been discussed on various message boards how many of the songs were true mono mixes. When asked recently, original recording engineer Bruce Botnick has pointed out that most of the tracks were dedicated mono mixes but he couldn't remember which songs it concerned. So, I've done an attempt to figure this out. After two extensive comparing sessions with a folded stereo version, I have come to the conclusion that only three songs could possibly be folddowns. I will give a brief breakdown of notable differences here: Tr. 01: Different echo on moog effect on vocals in parts. Listen to "We shall GO ON PLAYING OR FIND a new town"; on the stereo version the effect is mostly absent on the lines marked in capitol letters, while being there loud and clear on the mono. The moog effect was not on the multitracks, as evidenced by the pretty awful 2006 stereo remix. Tr. 02: The balances are more or less the same. This could be a folddown touched-up with some additional EQ and compression. Actually, the whole album is more compressed sounding in mono than in stereo. This was probably done with the purpose of achieving a more radio friendly sound. But point is, it's really hard to distinguish the mono/stereo differences between most of the tracks here and it seems likely that the stereo and mono mixes were prepared during the same sessions because the reverb (and other side FX) sound exactly the same on nearly every song. So, there really is no way for me to be 100% certain about this song. Tr. 03: Same conclusion as Tr. 02. Tr. 04: The handclaps & tambourine are missing entirely on the stereo version, suggesting that the producer thought of this song as a potential hit. tr. 05: Likely to be a fold. Most of the manipulated white noise that is heard so clearly at the beginning on the stereo is cancelled out when folded, giving the exact same sound as on the mono mix. No differences between the elements or the balance. Tr. 06: Reverb on voice at the end of the song is missing in mono and the outro lasts about 3 secs longer. Tr. 07: This always sounded like a fold to me, but clearly it isn't. The rhythm guitar which plays the muted chords is much less present in mono (for example: it's hardly there at 0.36 - 0.39 and absent during the guitar & piano solo's.). Tr. 08: Different bass intro and the vocals are faded much earlier at the end of the mono version. Tr. 09: Backward recorded percussion effect (sounds like ticking) starts on both mixes at 1.39 but is faded out quickly after four seconds on the mono, while lasting the whole chorus in stereo. Tr. 10: Morrison does some yelling before the grand double guitar solo at 2:56 (something like "f***ing $!@^!@ ....baby", I think, or is it just me?!). The word "baby" is much more buried within the mono mix. Also, at the end of the solo, when the guitar notes are still fading, Manzarek hits the same note three times on the organ. These notes are better noticeable on the mono mix. I wish I could find more obvious examples than this, but this song has very few overdubs or studio trickery and the balancing is very much alike. Overall, there is more bass organ present on the mono mix, but I wouldn't necessarily include that as proof of being a true mono mix. So there you have it. Any comments, thoughts or differing conclusions about this are welcome. I've auditioned three different cuttings of this album, in order to present the best possible sound. These cuttings were respectively pressed at Columbia's Terre Haute, IN (CTH on deadwax), Columbia's Pitman, NJ (CP on deadwax) & Monarch Record Mfg. in Los Angeles, CA (MON on deadwax). I chose to work with the latter cutting because it sounded best to me. Still, there is quite a bit of distortion during the climax of Tr. 05 that is present on all three cuttings, so I'm afraid it will have to be lived with. This may be well be my favourite Doors album. I find it more mature and slightly darker in mood than the first album. From the mysterious sounding title track to the thunderous finale of "When the music's over", there is no weak spot in here. Strange Days was recorded by Bruce Botnick under guidance of Paul Rothchild, who captured the band playing 'live' in the studio mostly. Despite the fact that this was the first Doors album to be recorded on an 8-track machine, overdubs were relatively sparse. This 8-track machine (3M Isoloop) was solid state and in combination with a valve console, gave the album a 'harder' sound as opposed to the debut which was recorded on a 4-track valve machine with ditto console. The record was professionally and carefully cleaned in three steps using Audio Intelligent’s Enzymantic formula, Super Cleaner Formula, and Ultra pure water on a VPI 16.5 (using VPI brushes) and Nitty Gritty mini-pro 2. I cleaned up a lot of clicks and pops manually (some of them are on the actual recording) and also repaired a few tape-dropouts. All this was done without harming the music. Enjoy!

[blade2k]

The Lovin' Spoonful - 1966 - Hums of the Lovin' Spoonful + 3 bonus
Kama Sutra KLP-8054, US 1966, Mono, Vinyl in 24bit/96kHz by Prof. Stoned

AM Pop, Folk-Rock; Psychedelic/Garage; Contemporary Pop/Rock; Sunshine Pop

The_Lovin'_Spoonful_-_1966_-_Hums_of_the_Lovin'_Spoonful_[Kama_Sutra_KLP-8054,_vinyl_24-96].wv.iso.wv 28 clicks
Образец: 01._Lovin'_You.flac 10 clicks

01. Lovin' You
02. Bes' Friends
03. Voodoo In My Basement
04. Darlin' Companion
05. Henry Thomas
06. Full Measure
07. Rain On The Roof
08. Coconut Grove
09. Nashville Cats
10. 4 Eyes
11. Summer In The City
bonus:
12. Darling Be Home Soon
13. You're a Big Boy Now
14. Lookin' to Spy

All tracks are Mono.
These mixes did never appear officially on CD and the mastertapes are assumed to be destroyed.

Produced by Erik Jacobsen
Recorded at Columbia Studios, New York, N.Y. by Roy Halee and Tr. 01 at Bell Sound Studios, Los Angeles, CA.

SPOILER (параметры рипа)

Hardware: - Technics 1210mk2 - Jelco SA-750D Tonearm (w/ JAC 501 cable) - Audio Technica AT-33PTG - Pro-Ject Tube Box SE-2 - Yamaha CA-1010 - RME ADI-2 A/D Interface Software: - Audition 3.0 used for adjusting DC bias. editing. (incl. manual removal of clicks and pops.. adding gain and making the cue points. - Click Repair 3.5.3 used with setting Cl: 15 Cr: 0 - CueListTool v1.7 & Mediaval CueSplitter used for generating the .cue's & .m3u's. Transfer & Restoration by Prof. Stoned

SPOILER (информация от автора рипа)

Prof sez: Here's yet another one in the series "essential in mono but not available on cd". This rip is taken from a mint US copy (1st pressing w/ deep groove) which I've bought in still-sealed condition. Lovin Spoonful...even though they had quite an impressive array of hits, history seems to have degraded them to some kind of equivalent of the Monkees. How wrong! Back when this album came out they were one of the coolest bands in town and that's how they should have been remembered. John Sebastian, their leader, was a gifted song-smith with a wicked sense of humour. A skilled musician too. His father was a renowned harmonica player and little John Jr. was exposed to all the musical greats (sometimes in person) from a very tender age. Sebastian integrated jazz, blues, folk, pop, rock & country in his music and yet made it sound completely natural. Now, Hums was the band's third record and the last one that was made by the original line-up (not counting the 2nd soundtrack album). It is arguably their best or at least their most consistent one. The band's lack of pretence was one of their big strengths but also their biggest weakness at the same time. But most tracks here hold up remarkable well IMO and even the oddball tunes (Henry Thomas) will put a smile on your face, or maybe not. Of course, everybody knows Summer in the City which may be one of the greatest anthems of the 60's. But how many have heard the reflective "Coconut grove" (covered in the 80's by Dave Lee Roth) or the lovely 'Rain on the roof' Okay, okay, that was actually a minor hit... At the time, the album appeared both in mono and stereo. Clearly, it was the mono mix that got the most attention from the band & producer and it should be regarded the main version. Yet, it most likely that MGM (who amongst others stored Buddah's mastertapes) had all their mono mastertapes destroyed in the early 70's in order to save up some space in their tape archives. It is my opinion that the executive who was responsible for this short-sighted decision should have been thrown off a cliff, but since I'm not in charge of those sort of things, he probably came out unscathed. Anyway, back to my zen-self, the Lovin Spoonful reissue program has been hopeless for decades and only since the last fifteen years, some decent sounding CD's of the original albums have appeared but all of them are stereo. With this release, I'm hoping to set something straight and give you the album as it was meant to be heard. I've added three bonustracks from the two soundtrack albums that appeared just before and after 'Hums'. Zal Yanovsky was forced out of the band before recording the actual fourth studio album, triggered by a drug-related incident that had turned him into a persona-non-grata on the scene and which greatly affected his behaviour. However, Yanovsky is all over the soundtrack albums and the one cut I took from "What's up Tiger Lily" is my little tribute to him: a spooky instrumental that would later become Coconut Grove. The other two tracks are from "You're a big boy now", with the heartfelt ballad 'Darling be home soon' being the best known. All 14 tracks were transferred from original US mono copies that were still sealed when I bought them. Despite that, some patches had to be made from my back-up copy of Hums because there were gliches on side 2 that were difficult to remove. There is also some inner groove distortion on Tr. 6 that I'm afraid we'll have to live with. I A/B the LP version of tr. 12 to my orig. US 45, which has a radical different mastering, but went with the more natural sounding album version. Same thing for Tr. 11. The 45's were mastered to sound good on AM radio and they do indeed have more presence and punch, but the LP versions give a better idea what the tracks sounded like in the studio and sound less fatigue on the ears. The records were professionally and carefully cleaned in three steps using Audio Intelligent’s Enzymantic formula, Super Cleaner Formula, and Ultra pure water on a VPI 16.5 (using VPI brushes) and Nitty Gritty mini-pro 2. After applying a medium setting of CR, I spent quite a few hours declicking manually. MGM pressed vinyl from the 60's has been known for its noisy surfaces. Enjoy!

[blade2k]

Leonard Cohen - 1967 - Songs of Leonard Cohen
Columbia CL 2733, US Dec 1967, Mono, Vinyl in 24bit/96kHz by Prof. Stoned

Singer/Songwriter; Folk-Pop; Baroque Pop

Leonard_Cohen_-_1967_-_Songs_of_Leonard_Cohen_[Columbia_CL_2733,_vinyl_24-96].wv.iso.wv 22 clicks
Образец: 01._Suzanne.flac 3 clicks

TRACKLIST

1. Suzanne  2. Master Song  3. Winter Lady  4. The Stranger Song  5. Sisters Of Mercy  6. So Long, Marianne  7. Hey, That's No Way To Say Goodbye  8. Stories Of The Street  9. Teachers 10. One Of Us Cannot Be Wrong

All tracks are Mono.
These mixes did never appear officially on CD.

Produced by John Simon (& Leonard Cohen uncredited)
Mixed by Leonard Cohen & unknown engineer (both uncredited)

SPOILER (параметры рипа)

Hardware: - Technics 1210mk2 - Jelco SA-750D Tonearm (w/ JAC 501 cable) - Audio Technica AT-33PTG - Pro-Ject Tube Box SE-2 - Yamaha CA-1010 - RME ADI-2 A/D Interface Software: - Audition 3.0 used for adjusting DC bias. editing. (incl. manual removal of clicks and pops.. adding gain and making the cue points. - Click Repair 3.7 used with setting Cl: 5. Cr: 0 - CueListTool v1.7 & Mediaval CueSplitter used for generating the .cue's & .m3u's. Transfer & Restoration by Prof. Stoned

SPOILER (информация от автора рипа)

Prof sez: Here's another one in the series "essential in mono but not available on cd". This is a fresh rip to replace the first one I did in 2010. They are very close, except that this one is slightly less bright sounding to match a near neutral response. A brilliant debut of a highly influential writer and performer. This was Cohen's 'The Freewheelin'. I never tire of this album after years of listening. In fact, once I get older it's lyrical & musical depth only seem to broaden. This rare dedicated mono mix does not just offer a different glimpse. It merely provides a whole new sonic dimension to what already was an athmospheric recording. Despite the fact that Sony has rejected it from their reissue's, it is THE mix. I'm sure only the most fanatical stereo purists will disagree with me. This was transferred from an NM copy. You can hear some noises that you may perceive as clicks. However, these are artifacts picked up by the vocal mic and can be heard on the official stereo CD's as well. The record was professionally and carefully cleaned in three steps using Audio Intelligent’s Enzymantic formula, Super Cleaner Formula, and Ultra pure water on a VPI 16.5 (using VPI brushes) and Nitty Gritty mini-pro 2. After applying a light setting of CR, a handful of clicks were removed manually, as the vinyl was very quiet to begin with. Enjoy!

[Гордый]

ничего не качал из этой серии, вот решил Дверей - Чужие дни скачать и послушать. Не понял прикола... а чем оно хорошее? Качество отвратительное пластинки. Искажения в верхнем диапазоне, сибилянты жуткие, так ещё и моно. Парниша ещё и шумодавом прошёлся и совсем всё испортил. Кто-то вообще это дело качал и слушал? может поделитесь секретом - почему это надо иметь? Есть конечно поклонники моно звука. Но ведь в любом усилке или в фубаре можно включить моно режим более качественных выпусков альбомов...

blade2k, тебе конечно спасибо, что делишься. Тебе нравятся эти рипы самому?

[blade2k]

QUOTE (Гордый @ 05-10-2012, 20:39)

blade2k, тебе конечно спасибо, что делишься. Тебе нравятся эти рипы самому?

Просили, делюсь, там выше писал.
Почти все нравятся, но мое мнение можно не учитывать - и медведь мне на ухо наступил и слушаю я на компе с плохой звуковой и в простых наушниках.

[blade2k]

Buffalo Springfield - 1967 - Buffalo Springfield Again
ATCO Records 33-226, US 1967, Vinyl rip in 24 bit/96 kHz by Prof. Stoned

Country-Rock; Folk-Rock; Psychedelic/Garage; Rock & Roll

Buffalo_Springfield_-_1967_-_Buffalo_Springfield_Again_[ATCO_Records_33-226,_vinyl_24-96].wv.iso.wv 33 clicks
Образец: 01._Mr._Soul.flac 11 clicks

01. Mr. Soul
02. A Child's Claim To Fame
03. Everydays
04. Expecting To Fly
05. Bluebird
06. Hung Upside Down
07. Sad Memory
08. Good Time Boy
09. Rock & Roll Woman
10. Broken Arrow
Bonus:
11. Bluebird (45rpm mix)
12. Mr. Soul (45rpm mix)

These mono mixes do not appear officially on CD or any other vinyl release.

Producers: Ahmet Ertegьn, Richie Furay, Greene & Stone(Tr.12), Jack Nitzsche, Stephen Stills, Neil Young
Engineers: Jim Messina, Bruce Botnick(Tr.4+5) and many more..

SPOILER (параметры рипа)

Hardware: - Technics 1210mk2 - Jelco SA-750D Tonearm (w/ JAC 501 cable) - Audio Technica AT-OC9ML/II - Yamaha CA-1010 (integrated PRE-AMP) - RME ADI-2 A/D Interface Software: - Audition 3.0 used for adjusting DC bias, editing, (incl. manual removal of clicks and pops), adding gain and making the cue points. - Click Repair 3.5.3 used with setting Cl: 10, Cr: 0 - CueListTool v1.7 & Mediaval CueSplitter used for generating the .cue's & .m3u's. Transfer & Restoration by Prof. Stoned

SPOILER (информация от автора рипа)

Prof. sez: Another one in the series "essential in mono but never available on cd". I have released this one before in 2008 but this new rip reproduces the sound closer to what the actual LP master sounds like due to a better source and more sophisticated equipment. On top of that, it has also two extra tracks (also previously ripped and released in 2009). This is a dedicated mix, meaning that it was specifically designed for mono playback. When comparing the mono and stereo mix, I would say that most time and thought was put into the former. Not that the stereo sucks, but it is inconsistent and has a few elements which seemed to have been deliberately mixed out of the mono version, like the sloppy 2nd leadguitar line in Tr.6. The mono also has much more thicker and focused sound and in some instances far better balancing too. When this record was released in 1967, the mono format was already on its way out in the States and because of that, most copies ended up being dumped by Atlantic in 1968 (which makes it difficult to find a copy without a cutout hole). There are two different US cuttings out there; one was made at the Atlantic Studio in L.A. and one by Columbia in N.Y. The latter was cut from an additionally EQ'd/compressed dub supplied by Atlantic, while the former was made from a cleaner source, quite possibly the master tape. My 2008 rip was sourced from a VG+ US copy which had the Columbia stamped matrixes, while this new 2011 rip is made from an almost as-new copy With the hand-written Atlantic matrices*. I do believe it is an enormous upgrade. Everyone who even remotely enjoyed the old rip, should get this. Musically, this album is one the true highlights of the 60's, even though created by a splintered group. Bass player Bruce Palmer had been deported back to Canada after a drugbust in early '67 and shortly after the initial sessions had started in February, Neil Young left the band to go solo. In the months that followed he collaborated with Phil Spector's long-time musical arranger Jack Nitsche to record 'Expecting to fly'; an achingly beautiful masterpiece that took a few weeks to complete. Meanwhile, the rest of the band had gone on to record their own material with a new bassplayer & a new guitarist, who at his turn was shortly replaced by David Crosby (unaccredited co-writer of Tr.9). However, near the completion of the record Neil Young & Bruce Plamer were brought back into the group.** The 2 bonuscuts are from an 45 which preceded the album's release date by a few months. They are not included here for their brilliant soundquality; the significance of this 45 -of course- lies mostly in the early version of Mr. Soul with its alternate guitar solo and the fact that it has never been reissued since 1971 (both on vinyl or CD). These tracks were transferred from a 45 that came from a new-old-stock collection. This copy was issued in 1971 as part of the first batch of the Oldies Series which were pressed from the same metal parts as the original 1967 US single (Atlantic cutting)***. The problem with the original single is that it was cut so hot that you simply cannot play it back without hearing distortion at some points (I even bought a second NOS copy and it had the same issue's). So, we'll just have to take it as it comes. This new rip slightly improves up on the soundquality of the 2009 one, though. The records were professionally and carefully cleaned in three steps using Audio Intelligent’s Enzymantic formula, Super Cleaner Formula, and Ultra pure water on a VPI 16.5 (using VPI brushes) and Nitty Gritty mini-pro 2. Then I spent a few evenings manually declicking the wave file (after Click Repair had already been applied with a medium setting) to make sure the cleanest and most natural sounding result possible was achieved. Enjoy!

[Siget]

а я и не знал раньше таких blade2k, спасибо

[cyxogpuct4eb]

щас профессор выложил свой релиз из синглов John Mayall and The Bluesbreakers (1964-68, Decca, Purdah Records, Immediate Record Co.)
@ Гордый
я не был бы столь суров и принципиален в неприятии оригинальных моно релизов.
для меня лучшее у Beatles до белого альбома включительно - это именно моно.
там другие миксы, но слушать моно винил желательно на специально изготовляемых монофонических головках, у которых игла колеблется только в поперечном направлении.
они и шумов снимают меньше, и динамический диапазон дают больше, чем стерео голова на той же винилине.
плюс работали над мастерингом мно= и стерео-релизов разные команды.
там все действительно не так однозначно.

гляньте по ссылке:
http://www.thebeatleswhitealbum.org/the-album/mono-vs-stereo/
там идет детальный разбор полетов.
и на другой странице этого сайта полные данные по каждому треку (песне). так вот, записывался белый альбом с марта по сентябрь 1968 г., а стереоварианты большинства песен - гамузом были сведены 13 и 14 октября того же года. без участия самих битлов. и только пара песен была записана и сведена изначально в стерео, и лишь для подготовки альбома пересаедена в моно (Revolution 9 и еще какая-то, не помню навскидку).

среди дискуссий в сети по этому поводу есть толковые, например
http://www.soundopinions.org/forum/index.php?showtopic=19776

и, да, у моно звука не так много поклонников и фанатов. а рипы винила - дело тонкое. это скоре искусство, чем ремесло. возможно, не все релизы профессора равноценны.
---
2 everybody concerned
сейчас в интернете на одном сайте (при вступлении в масонскую ложу давал клятвенное обещание неразглашения урла) собралась туева хуча народу, оцифровывающего винил в 24/96.
попробуйте запросить у профессра Стоунеда в его гуглоблоге или у Дока Роберта на аваксе (он там забанен, но работает как агитатор втихаря под ником DaucRaub). мне инвайт в ложу выписал Док Роберт, может кто-то у профессора оторвет или еще где.

я прошел по простому алгоритму: на аваксе нашел 3-5 рипов Доктора Роберта с прибитыми линками. написал ему в личку (сегодня это глубоко законспирированный подпольщик DaucRaub, а не Dr. Robert). снчала он отсылал мне свежие ссылки, а потом когда убедился (?) в моей благонадежности, выслал мне предложение загулять на их сайт. потом и инвайт выслал.

думаю, просить инвайт сразу - не прокатит. надо входить в доверие. поскольку на моей совести релизов пока нет, я раздавать инвайты не могу.

сайт банда начала тянуть с 1 января 2011 г., и открыл его Доктор Роберт своей работой над коламбиевской 8-дисковой моно-коробкой Дилана (хоть он и не фанат моно). сейчас там 112 страниц со ссылками на материалы, и на каждой странице - рипов по 30. конечно же, случаются повторы, новые релизы и прочие привычные для оцифровки винила дела. многие работы представлены не только в 24/96, но продублированы даунсэмпленым до уровня Red Book CD-DA вариантом.

This post has been edited by cyxogpuct4eb on 21-10-2012, 10:17