VA - Das Mikrofon / The Microphone (1991, Tacet # TACET 17) [RE-UP]

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 11. June 2013, 21:48

Various Artists / Das Mikrofon

Used drive : PIONEER BD-RW BDR-206 Adapter: 0 ID: 2

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 667
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : Yes
Command line compressor : C:\Program Files\FLAC\flac.exe
Additional command line options : -5 -T "Artist=%artist%" -T "Title=%title%" -T "Album=%albumtitle%" -T "Date=%year%" -T "Tracknumber=%tracknr%" -T "Genre=%genre%" %source% -o %dest%


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
––––––––––––––––––––––––––––-
1 | 0:00.00 | 6:48.50 | 0 | 30649
2 | 6:48.50 | 3:59.00 | 30650 | 48574
3 | 10:47.50 | 8:43.00 | 48575 | 87799
4 | 19:30.50 | 2:52.50 | 87800 | 100749
5 | 22:23.25 | 6:58.25 | 100750 | 132124
6 | 29:21.50 | 3:37.00 | 132125 | 148399
7 | 32:58.50 | 3:05.00 | 148400 | 162274
8 | 36:03.50 | 5:58.00 | 162275 | 189124
9 | 42:01.50 | 4:34.00 | 189125 | 209674
10 | 46:35.50 | 4:50.00 | 209675 | 231424
11 | 51:25.50 | 6:38.00 | 231425 | 261274
12 | 58:03.50 | 3:40.00 | 261275 | 277774
13 | 61:43.50 | 2:16.00 | 277775 | 287974
14 | 63:59.50 | 7:00.00 | 287975 | 319474
15 | 70:59.50 | 3:47.00 | 319475 | 336499
16 | 74:46.50 | 1:11.27 | 336500 | 341851


Range status and errors

Selected range

Filename F:\=== VINYL RIPS ===\=== EAC===\X FRESH RIP\VA - Das Mikrofon.wav

Peak level 95.4 %
Extraction speed 8.2 X
Range quality 99.9 %
Copy CRC 00EA63E7
Copy OK

No errors occurred


AccurateRip summary

Track 1 accurately ripped (confidence 2) [302D1D07] (AR v2)
Track 2 accurately ripped (confidence 2) [1A7E165A] (AR v2)
Track 3 accurately ripped (confidence 2) [30F35BDD] (AR v2)
Track 4 accurately ripped (confidence 2) [C4E10081] (AR v2)
Track 5 accurately ripped (confidence 2) [552BBC6F] (AR v2)
Track 6 accurately ripped (confidence 2) [C615905D] (AR v2)
Track 7 accurately ripped (confidence 2) [AA71F9F4] (AR v2)
Track 8 accurately ripped (confidence 2) [3269A90B] (AR v2)
Track 9 accurately ripped (confidence 2) [7D6EEE8B] (AR v2)
Track 10 accurately ripped (confidence 2) [97F94AB7] (AR v2)
Track 11 accurately ripped (confidence 2) [3A07452F] (AR v2)
Track 12 accurately ripped (confidence 2) [85DF5FAF] (AR v2)
Track 13 accurately ripped (confidence 2) [3E7D5F58] (AR v2)
Track 14 accurately ripped (confidence 2) [C1E0422C] (AR v2)
Track 15 accurately ripped (confidence 2) [2CD854EB] (AR v2)
Track 16 accurately ripped (confidence 2) [337E1B76] (AR v2)

All tracks accurately ripped

End of status report

–– CUETools DB Plugin V2.1.3

[CTDB TOCID: 3P_l3RJWxKZb_GcqZc0dRIyjhqI-] found, Submit result: 3P_l3RJWxKZb_GcqZc0dRIyjhqI- has been confirmed
[620ec566] (11/11) Accurately ripped


==== Log checksum E8704A42B33AEBBFF2A2C22F8C1942671D7D81B28C9A219A3F5F0539D6A44ABD ====

foobar2000 1.1.14a / Dynamic Range Meter 1.1.1
log date: 2013-06-12 10:04:44

––––––––––––––––––––––––––––––––––––––––
Analyzed: Various Artists / Das Mikrofon
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR14 -3.66 dB -24.31 dB 6:49 01-Joseph Haydn : Streichquartett - Op. 74 Nr.1, 2.Satz
DR13 -1.96 dB -19.89 dB 3:59 02-Johann Strauss (Sohn) : Egyptischer Marsch - Op. 335
DR14 -2.90 dB -21.95 dB 8:43 03-Ludwig van Beethoven : Sonate d-Moll - Op. 31 Nr 2, 1. Satz
DR14 -0.91 dB -23.28 dB 2:53 04-Gioacchino Rossini : Petite Messe Solennelle - Gloria
DR14 -0.40 dB -20.59 dB 6:58 05-Gioacchino Rossini : Petite Messe Solennelle - Cum Sancto
DR15 -1.73 dB -23.98 dB 3:37 06-Gioacchino Rossini : Petite Messe Solennelle - Crucifixus
DR12 -4.26 dB -18.86 dB 3:05 07-Johann Sebastian Bach : Partita d-Moll - BWV 1004, Giga
DR13 -0.89 dB -19.57 dB 5:58 08-Johann Caspar Kell : Toccata Terza in a
DR13 -5.09 dB -23.79 dB 4:34 09-Carl Philip Emanuel Bach : Sonate c-Moll - Wq 161a, 2.Satz
DR15 -0.98 dB -21.87 dB 4:50 10-Wolfgang Amadeus Mozart : Sonate in C - KV 330 (300h), 3.Satz
DR16 -4.05 dB -26.00 dB 6:38 11-Franz Schubert : Streichquartett G-Dur - Op.161 D 887, 3.Satz
DR14 -0.94 dB -22.23 dB 3:40 12-Hugo Wolf : 'Heib' mich nicht reden' aus den Goethe-Liedern (1888)
DR11 -2.55 dB -17.86 dB 2:16 13-Johann Sebastian Bach : Die Kunst der Fuge - Contrapunctus 9
DR15 -2.77 dB -24.00 dB 7:00 14-Wolfgang Amadeus Mozart : Fantasie d-Moll KV 397
DR12 -4.64 dB -22.73 dB 3:47 15-Felix Mendelssohn Bartholdy : Klaviertrio - Op. 66 Nr 2, 3.Satz
DR11 -7.38 dB -23.25 dB 1:11 16-Richard Rodgers : Blue Moon
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 16
Official DR value: DR13

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 519 kbps
Codec: FLAC
================================================================================

The Microphones:
Neumann CMV3–Known because of its shape as the "Neumann Bottle", it was designed in 1927 and was the first ever microphone suitable for studio use. Inside the "bottle" is a tube, and onto this bottle one can fit different capsules (omni-directional, cardiod or figure-eight). The Neumann CMV3 is quite versatile and able to compete well in this digital age.

Neumann M49–One advantage of the main pair used for this recording (the M49, designed in 1949 by Neumann, also on the cover) is that their direction is fully adjustable, so that the sound engineer can, for example, in a room with a lot of echo, choose a characteristic which is part-way between an omni-directional and a cardio id microphone, and thus reduce the excess resonance.

Buel & Kjaer 4003–The Buel & Kjaer Company originally built microphones and other equipment for electro-acoustic measurement. It was only when their measuring microphones came to be used by sound engineers that they decided to develop microphones specially for studio use. For this reason the B&K mikes have high degree specifications. For example, the 4003's used here can tolerate a sound level of up to 154 decibels. But of course this was not the reason why they were used here: rather, it was their neutral sound.

The Dummy Head–The idea of a dummy head is almost as old as electrical sound transmission itself. It was born in about 1886 in the Bell Laboratories. Presumably in the early days of this development people thought that a microphone should be similar to an ear. The first model of a dummy head was also built in Bell Laboratories (Philips, Da Boer and Vermeulen), in 1938, but the first system suitable for professional use was not created until 1969 by Kuere, Plenge and Wilkins. Since then it has been produced in a number of variations. Its reputation of being only for people who like headphones is unjust. This production was an attempt to use it as one of a number of other studio microphones.

Nuemann U47–Developed in 1947, a functioning U47 is a rarity as the replacement tubes are no longer available for it. It was the first switchable pattern condenser microphone. Here you can hear a production with two such microphones at once, set to omni-directional. The warm sound devoid of excessive bass or treble meant that it was essential to use these microphones. The U47, pictured on the front and back covers, bears the name "Telefunken". However, it is from Neumann. Telefunken merely retailed the microphone under their name.

Sennheiser MKE212R–Boundary layer microphones consist of one even surface into which a diaphragm is built. Normally they are laid down on the floor. While inside the room there is a constant addition and subtraction of acoustic sound levels caused by large number of echo's and, depending on frequency and microphone position, a boundary layer microphone is always at maximum sound level. This geometric parameter means amongst other things that the emphasis on the top of the sound in the main direction, typical of omni-directional microphones, does not arise. Many modern microphones are based on this principle.

Schoeps KFM 6 U–This is the first production recorded with a sphere microphone to appear on CD. The sphere microphone looks like a ball. The two diaphragms are situated exactly on a level with the spherical surface. This combines the advantages of dummy heads and boundary layer microphones.

Schoeps CMC 5 MK2–The shape of these microphones is known in Germany as "beaters". The Schoeps mikes used here are an example of many of their type. The (exchangeable) capsules with an omni-directional pattern give an even frequency response in the main direction–in other words towards the source of the sound–unlike most of their counterparts, which accentuate the top of the sound forward.

Neumann TLM 50–After numerous years of falling to credit that many sound engineers remain staunchly faithful to "their" old tube microphones, in recent years more and more manufacturers have brought out new versions of the old models. In this case the Neumann company worked on the M 50 (which on the outside looks like the M49, except that the diaphragm sits on a small sphere), replaced the tube with a transistor amplifier, gave it a thinner diaphragm and provided the microphone with a modern housing. The result was the TLM 50, a highly modern studio microphone. "TLM" means "transformerless microphone".

Clara–Clara, a variation on the dummy head, developed by the German scientist J. Hinrich Peters from Goettingen. For this recording tis curved plexi-glass form was fitted with two Bruel & Kjaer 4007 microphones.

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