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

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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


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

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


 Bass Guitar ΓÇô Cliff Williams
 Design ΓÇô Dave Bett*
 Drums ΓÇô Phil Rudd
 Lead Guitar ΓÇô Angus Young
 Mastered By ΓÇô George Marino
 Photography By ΓÇô C. Taylor Crothers
 Recorded By, Mixed By ΓÇô Mike Fraser
 Rhythm Guitar ΓÇô Malcolm Young
 Vocals ΓÇô 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.		
A - Shoot to Thrill.flac 241.575 MB
AC DC - Live at River Plate.cue 338 B
AC DC - Live at River Plate.m3u 48 B
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Hash E0E29C62D86476509B1A373F139EF4842798D3CA

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