Hard Stuff - Bulletproof - 1972, Bolex Dementia- 1973

2LP, Vinyl Rip, 24/96, FLAC (tracks+.cue)

Rip by PBTHAL VINYL RIPS

 Bass Guitar, Vocals, Piano, Producer ΓÇô John Gustafson (The Merseybeats, Roxy Music, Ian Gillan Band)
 Drums, Producer ΓÇô Paul Hammond (Atomic Rooster, Intellektuals)
 Guitar, Vocals, Producer ΓÇô John Du Cann (Andromeda, Atomic Rooster)


1972 - Bulletproof (Purple Records, TPSA 7505, Original UK Pressing)

Side 1

 01 - "Jay Time" (John Du Cann) ΓÇô 2:50
 02 - "Sinister Minister" (John Gustafson) ΓÇô 3:30
 03 - "No Witch at All" (Gustafson) ΓÇô 5:38
 04 - "Taken Alive" (Gustafson) ΓÇô 3:14
 05 - "Time Gambler (Rodney)" (Du Cann) ΓÇô 6:11

Side 2

 06 - "Millionaire" (Du Cann) ΓÇô 6:04
 07 - "Monster in Paradise" (Gustafson, Ian Gillan, Roger Glover) ΓÇô 4:33
 08 - "Hobo" (Du Cann) ΓÇô 3:25
 09 - "Mr. Longevity ΓÇô RIP" (Gustafson) ΓÇô 4:35
 10 - "The Provider ΓÇô Part One" (Du Cann) ΓÇô 2:31


1973 - Bolex Dementia (Mercury, SRM-1-663, Original US Pressing)
 
Side 1

 01 - "Sick n' Tired" ΓÇô 4:04
 02 - "Mermany" ΓÇô 5:58
 03 - "Jumpin' Thumpin' (Ain't that Somethin')" ΓÇô 2:55
 04 - "Dazzle Dizzy" ΓÇô 3:41
 05 - "Bolex Dementia" ΓÇô 3:41

Side 2

 06 - "Roll a Rocket" ΓÇô 5:19
 07 - "Libel" ΓÇô 3:58
 08 - "Ragman" ΓÇô 3:01
 09 - "Spider's Web" ΓÇô 4:55
 10 - "Get Lost" ΓÇô 3:01


Vinyl Ripping Process/Equipment

 VPI 16.5 RCM
 Turntable: VPI Scoutmaster
 Tonearm: Trans-Fi Termninator
 Cartridge: Audio-Technica AT33PTG/II
 Phone Stage: Cinemag SUT feeding a Marantz 2220B
 Digital Interface: E-MU 1212
 Recording Software: Adobe Audition 3.01
 Recording Bitrate/Sample Rate: 192/24

Post Processing
 Run thru ClickRepair at level 10 with
 Pitch Protection | off
 Reverse | on
 Simple
 Resample to 96khz in Izotope Rx2 using the default preset
 Manually listen to album in Adobe Audition cleaning any clicks/anomalies
 Flac with Xrecode II

What Exactly Is An "Ultimate Master"

 It is more or less a catchphrase originally used to designate something was a hi-res rip. But since there seems to be a lot "similarly" <cough> named rips now I guess I should explain.
 I try to present the "ultimate mastering" of a particular LP, the "mastering" is not my equipment or process but the source material, it has always been about finding the best source. Now my opinion of the best source is subject
 to change as I experience more variations. Whether or not folks think my rip is "definitive" is irrelevant to me, I just try to find the best pressing and don't mind doing the extra clean up that comes with not just ripping new reissues or japanese issues. I understand the appeal of these pressings but I don't subscribe to the notion that they represent the best source 95% of the time.