Led Zeppelin - II - 1969

Classic Records 200g (Quiex SV-P) / Atlantic SD8236-200, USA

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

Rip by aksman

Side one

 01. "Whole Lotta Love" John Bonham/Willie Dixon/John Paul Jones/Jimmy Page/Robert Plant 5:34
 02. "What Is and What Should Never Be" Page/Plant 4:47
 03. "The Lemon Song" Bonham/Burnett/Jones/Page/Plant 6:20
 04. "Thank You" Page/Plant 4:47

Side two

 01. "Heartbreaker" Bonham/Jones/Page/Plant 4:15
 02. "Living Loving Maid (She's Just a Woman)" Page/Plant 2:40
 03. "Ramble On" Page/Plant 4:35
 04. "Moby Dick" Bonham/Jones/Page 4:25
 05. "Bring It On Home" Page/Plant/Dixon 4:19

Personnel
 Led Zeppelin
 Jimmy Page – electric and acoustic guitar, backing vocals, theremin on "Whole Lotta Love"
 Robert Plant – lead vocals, harmonica
 John Bonham – drums, timpani, backing vocals
 John Paul Jones – bass guitar, organ, backing vocals

Production

 George Chkiantz – engineer on "Whole Lotta Love" and "What Is and What Should Never Be"
 Peter Grant – executive producer
 Chris Huston – engineering on "The Lemon Song" and "Moby Dick"
 Andy Johns – engineering on "Thank You"
 Eddie Kramer – engineering, mixing

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) > 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.