Tag: 1983

Echo & The Bunnymen – The Cutter (UK 12″) (1983)

Burning The Ground Exclusive

Not every record featured during Spooky Season needs to be about ghosts, monsters, or things that go bump in the night. Sometimes the music itself creates enough tension to send a chill down your spine. For today’s Spooky Season Spins, I’m reaching back to January 1983 for a record that has always carried an unmistakable sense of mystery, Echo & The Bunnymen’s “The Cutter.”

With its strange, swirling strings, driving percussion, and Ian McCulloch’s dramatic vocals, “The Cutter” sounds like a warning from somewhere just beyond the shadows. It’s not a traditional Halloween song, but its dark atmosphere and cryptic lyrics make it a perfect addition to this year’s collection of spooky sounds.

A Sharp Turn Into Darkness

Formed in Liverpool in 1978, Echo & The Bunnymen had already established themselves as one of Britain’s most interesting post-punk bands by the time “The Cutter” arrived on January 14, 1983.

The group’s classic lineup featured Ian McCulloch on vocals and rhythm guitar, Will Sergeant on lead guitar, Les Pattinson on bass, and Pete de Freitas on drums. Together, they created a sound that mixed post-punk energy with psychedelic influences and a healthy dose of mystery.

“The Cutter” was the second single taken from their third studio album, Porcupine, released in February 1983. Produced by Ian Broudie under the name Kingbird, the single became the band’s first UK Top 10 hit, climbing to number eight.

It’s remarkable that a song this unusual managed to reach such a wide audience. At a time when synthesizers and polished pop productions were dominating the British charts, Echo & The Bunnymen delivered something far stranger.

From its opening seconds, “The Cutter” refuses to sound ordinary.

The song begins with an unusual string melody that seems to twist and turn before the rhythm section comes crashing in. Those distinctive strings came courtesy of Indian violinist L. Shankar, whose playing gives the recording an almost otherworldly quality.

Interestingly, the opening melody has an unexpected connection to Cat Stevens. In a 1985 interview, McCulloch recalled that Broudie had encouraged Shankar to play something resembling Stevens’ 1967 hit “Matthew & Son.” The result became one of the most recognizable elements of “The Cutter.”

Beneath those strings, Les Pattinson’s bass provides a steady pulse while Pete de Freitas drives the song forward with forceful percussion. Will Sergeant’s sharp guitar work adds another layer of tension.

Then there’s Ian McCulloch.

His commanding vocals move between restraint and desperation, eventually erupting into the repeated plea, “Spare us the cutter!”

What exactly is he trying to escape? That’s part of the song’s appeal. The lyrics never provide an easy explanation, leaving the listener to imagine what might be lurking beneath the surface.

The result is a recording that feels threatening, restless, and strangely beautiful all at once.

The Original 1983 UK 12-Inch

For today’s spin, I’ve pulled out my original UK 12-inch pressing on Korova Records, complete with its picture sleeve and limited-edition foldout poster.

One of the things I’ve always enjoyed about collecting 12-inch singles is discovering what record companies included beyond the main track. Sometimes it was an extended remix. Other times, it was an unusual B-side, a live recording, or an extra piece of artwork.

“The Cutter” offers a little of the latter two.

Unlike many 12-inch releases from this period, the A-side does not feature an extended remix. Instead, the additional playing space is devoted to two B-side selections, including a remarkable live performance.

Exploring the B-Side

Turning the record over reveals two tracks that make this release especially interesting.

“Way Out And Up We Go” continues the band’s early post-punk approach. It’s a lesser-known recording that deserves attention beyond its position on the flip side of a hit single.

But the real surprise comes with “Zimbo.”

Originally known as “All My Colours,” the song first appeared on the band’s 1981 album Heaven Up Here. For this 12-inch, however, Korova included a live version recorded at the inaugural WOMAD Festival in July 1982.

This extraordinary performance features Echo & The Bunnymen alongside the Royal Burundi Drummers.

The addition of the drummers gives “Zimbo” a powerful, hypnotic quality. The steady percussion builds beneath McCulloch’s haunting vocals, creating an atmosphere that feels almost ceremonial.

It’s a striking performance, and one that demonstrates how far the Bunnymen were willing to stretch the boundaries of their sound.

In fact, for a Spooky Season playlist, I’d argue that this live recording is every bit as effective as “The Cutter” itself.

There is something mesmerizing about its repeated rhythms and brooding atmosphere. It’s the kind of recording that seems to grow more mysterious the longer you listen.

The historic WOMAD performance later received renewed attention when it was included on Live at WOMAD 1982, an archival collection released in 2022 to celebrate the festival’s 40th anniversary.

An Icy Image From Iceland

Another reason I particularly enjoy this pressing is the original foldout poster, which is still included with my copy.

The black-and-white poster features the band during their visit to Iceland, where they filmed the promotional video for “The Cutter.”

The video was shot in late 1982, with much of the footage filmed around Gullfoss, one of Iceland’s most famous waterfalls. Surrounded by snow, ice, and a bleak winter landscape, the band looks almost stranded at the edge of the world.

The icy scenery provides a perfect visual match for the music.

There’s nothing warm or inviting about the setting. Instead, the frozen landscape reflects the same cold, uneasy atmosphere running through the song.

Photographs from the Iceland trip were also used for the artwork of Porcupine, helping establish the band’s striking visual identity during this period.

The poster is a wonderful reminder of when buying a record could mean getting something extra to unfold, examine, and occasionally hang on your bedroom wall.

More than forty years later, it’s especially satisfying to find an original pressing that still has its promotional extras intact.

A Perfect Cut for Spooky Season

So, what makes “The Cutter” such a good choice for Spooky Season Spins?

For me, it’s the atmosphere.

The song doesn’t rely on horror references or supernatural imagery. Instead, it creates a feeling of unease through its unusual instrumentation, mysterious lyrics, and dramatic performance.

Even the title suggests something unpleasant. There’s an implied threat hanging over the recording, although we’re never quite sure what that threat might be.

That’s what makes it so effective.

And when you add the equally haunting live performance of “Zimbo” on the B-side, the entire record takes on an even darker character.

Echo & The Bunnymen would go on to explore similar territory with songs such as “The Killing Moon,” but “The Cutter” has an urgency and nervous energy all its own.

It’s sharp, strange, and just a little unsettling.

Exactly what I’m looking for when the Halloween season rolls around.

So, as the October nights grow longer and the shadows begin to creep across the walls, I’m placing this original 1983 UK 12-inch on the turntable, turning up the volume, and letting Echo & The Bunnymen provide tonight’s soundtrack.

After all, who needs a horror movie when a record can make you feel this uneasy?

Until the next Spooky Season Spin, keep those turntables spinning and the lights turned down low.

SIDEA:
A1. The Cutter 3:54
Producer – Kingbird

SIDE B:
B1. Way Out And Up We Go 4:00
Producer – Kingbird

B2. Zimbo (Recorded Live) 4:58
Producer –  Robbie McGrath
With The Royal Burundi Drummers

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
Poster: Mint

RELEASE INFORMATION:
Label: Korova – KOW 26 (T), Korova – KOW 26T, Korova – 249 918-0
Format: Vinyl, 12″, Single, 45 RPM, White Labels, Poster
Country: UK
Released: Jan 14, 1983
Genre: Rock
Style: New Wave, Indie Rock

CREDITS:

NOTES:
White centre labels with orange ‘Korova Records’ logos
Embossed Warner “W” stamp to back cover , upper right corner.

Initial copies included a free poster.

‘Zimbo’ recorded live at the W.O.M.A.D. Festival, July 1982.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Phono Pre-amp: Pro-Ject Tube Box DS2
Phono Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.

 

Depeche Mode – Everything Counts (In Larger Amounts) (UK 12″) (1983)

Burning The Ground Exclusive

Released in the UK on July 11, 1983, “Everything Counts” marked an important turning point for Depeche Mode. The single introduced a tougher, more experimental sound that would play a major role in the band’s evolution throughout the rest of the decade.

Written by Martin Gore, “Everything Counts” was the first single taken from the band’s third studio album, Construction Time Again. The album would also mark the first time Alan Wilder appeared as a full member on a Depeche Mode studio LP.

By this point the group had begun moving away from the cleaner synth-pop sound of their first two albums. Sampling became an important part of the recording process, with metallic noises, unusual percussion, and sounds gathered from everyday objects finding their way into the music.

“Everything Counts” was one of the first major examples of that new direction.

The lyrics were changing as well.

Instead of focusing on relationships, Martin Gore turned his attention toward greed, competition, and corporate culture. The song’s image of “grabbing hands” became one of the most recognizable lyrics in the Depeche Mode catalog.

The darker subject matter is paired with one of the band’s catchiest early melodies. Dave Gahan handles the verses while Martin Gore takes a more prominent role during the chorus. Add the distinctive melodic hook and all of those strange metallic sounds, and you have a record that sounded quite different from most of the synth-pop appearing on the charts in 1983.

And “Everything Counts” did very well on those charts.

In the UK, the single entered the Official Singles Chart at No. 41 and steadily climbed during the following weeks. It eventually reached No. 6 and spent eleven weeks on the chart, including three weeks inside the Top 10.

The record also found success across Europe and beyond. “Everything Counts” reached No. 8 in Switzerland, No. 15 in Ireland, No. 18 in Sweden, No. 23 in West Germany, and No. 27 in New Zealand. It also reached No. 20 in South Africa.

The original single did not enter the Billboard Hot 100 in the United States, where Depeche Mode were still some distance away from becoming a major mainstream act. However, the record made an impression in American clubs, reaching No. 17 on Billboard’s dance chart.

For the UK 12-inch, Mute Records gave the extended version the wonderfully appropriate title “Everything Counts (In Larger Amounts).”

And larger amounts are exactly what you get.

Running more than seven minutes, the 12-inch version gives the percussion, samples, synthesizer lines, and instrumental sections much more room. Rather than simply extending the beginning and ending, “In Larger Amounts” pulls apart elements of the original recording and lets you hear just how much was going on underneath that instantly recognizable melody.

It is exactly the kind of extended mix that made the 12-inch format so interesting during the 1980s.

The B-side, “Work Hard (East End Remix),” is equally interesting. Written by Martin Gore and Alan Wilder, “Work Hard” was a non-album track recorded during the same period and fits perfectly with the mechanical sound Depeche Mode were exploring.

The extended East End Remix stretches the track to more than six minutes and makes an already unusual B-side even stranger.

“Everything Counts” became one of the defining singles from Depeche Mode’s early years. More importantly, it offered a glimpse of where the band was headed. The bright synthesizers were still there, but now they were surrounded by sampled machinery, harder rhythms, darker lyrics, and a growing willingness to experiment.

The transformation from the band that recorded “Just Can’t Get Enough” only two years earlier was well underway.

For me, the UK 12-inch is the version to hear. “In Larger Amounts” gives all of those rhythms, samples, and production details the space they deserve.

After all, when it comes to a great 12-inch…

Everything counts in large amounts.

SIDE A:
Everything Counts (In Larger Amounts) 7:21
Written-By – M.L.Gore*

SIDE B:
Work Hard (East End Remix) 7:00
Written-By – A. Wilder, M.L.Gore

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

1983 CHART PERFORMANCE
Chart Peak Position
UK Singles Chart #6
Switzerland #8
Ireland #15
US Billboard Hot Dance Music/Club Play #17
Sweden #18
South Africa #20
West Germany #23
Italy #24
Austria #26
New Zealand #27
Netherlands #50

RELEASE INFORMATION:
Label: Mute – 12 BONG 3
Format: Vinyl, 12″, 45 RPM, Single, Stereo, Beige Labels With Grey Print, Not “MVS” Pressing
Country: UK
Released: Jul 11, 1983
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Recorded at the Garden Studio, London.

“Everything Counts” mixed in Hansa Mischraum, Berlin.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Phono Pre-amp: Pro-Ject Tube Box DS2
Phono Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Cleaning Solution: Turgikleen Record Cleaning Solution
Scanner: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

PLEASE READ

There are two 24-Bit links; if one does not work, try the other

**24-bit FLAC Only Available For SIX Days!

Password: burningtheground

You can help show your support for this blog by donating using PayPal.

I appreciate your help.

 

Eurythmics – Sweet Dreams (Are Made Of This) (US 12″) (1983)

Burning The Ground Exclusive

NEW 2026 Transfer
NEW Meticulous Audio Restoration

Original post date: May 10, 2017

Certain songs instantly define an era, and “Sweet Dreams (Are Made Of This)” by Eurythmics is unquestionably one of them. Released in early 1983 as the title track from the duo’s second studio album, the single transformed Annie Lennox and Dave Stewart from underground cult favorites into international pop icons almost overnight.

Built around one of the most recognizable synthesizer riffs ever recorded, “Sweet Dreams (Are Made Of This)” sounded unlike anything else on radio at the time. Cold, hypnotic, mechanical, yet incredibly infectious, the track helped redefine the direction of pop music in the early 1980s and became one of the signature recordings of the synth-pop movement.

Written and produced by Annie Lennox and Dave Stewart, the song emerged during a difficult period for the duo following the commercial disappointment of their debut album In the Garden. Working from a modest home studio with limited equipment, the pair created a minimalist electronic masterpiece driven by pulsing synths, drum machine rhythms, and Lennox’s commanding vocal delivery.

Lyrically, the song explores ambition, manipulation, desire, and survival in a world where “everybody’s looking for something.” Annie Lennox delivers the lines with a detached coolness that only adds to the song’s mysterious power.

Of course, the song’s impact was amplified by its unforgettable music video. Annie Lennox’s sharply tailored menswear, cropped orange hair, and androgynous appearance became one of the defining visual statements of the MTV era. At a time when pop culture was becoming increasingly image-driven, Lennox challenged conventions in a way that felt bold, modern, and completely original.

The single became a worldwide smash, reaching No. 1 on the Billboard Hot 100 in the United States and establishing Annie Lennox and Dave Stewart as major international stars.

This post features a new 2026 Transfer and meticulous audio restoration taken from my US 12-inch pressing. The 12-inch is especially notable because it contains the full-length version of “Sweet Dreams (Are Made Of This).” Most LPs, CDs, and 7-inch singles contain the shorter 3:36 edit, making the 12-inch mix the preferred version for many fans and collectors.

Another interesting detail is the B-side, “I Could Give You a Mirror,” which differs from the version found on the Sweet Dreams (Are Made Of This) album, giving this US 12-inch additional collector appeal.

From a club perspective, the extended 12-inch version is absolutely definitive. The longer runtime allows the hypnotic groove to fully develop, emphasizing the icy atmosphere and relentless electronic pulse that made the song so revolutionary. Even today, it still sounds futuristic blasting from a turntable.

More than four decades later, “Sweet Dreams (Are Made Of This)” remains one of the most influential and instantly recognizable songs of the 1980s, a landmark recording that continues to inspire artists across pop, electronic, and alternative music.

SIDE A:
Sweet Dreams (Are Made Of This) (Full Length Version) 4:55
Producer – David A. Stewart

SIDE B:
I Could Give You (A Mirror) (Alternate Version) 3:57
Producer – Stewart, Crash

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance – Eurythmics: Sweet Dreams (Are Made Of This) (1983) Peak Position
Australia (Kent Music Report) 6
Austria (Ö3 Austria Top 40) 9
Belgium (Ultratop 50 Flanders) 3
Canada (The Record Retail Singles) 1
Canada Top Singles (RPM) 1
Finland (Suomen virallinen lista) 6
Iceland (Íslenski Listinn) 1
Ireland (IRMA) 2
Japan (Oricon) 89
Netherlands (Dutch Top 40) 9
Netherlands (Single Top 100) 10
New Zealand (Recorded Music NZ) 2
South Africa (Springbok Radio) 5
Spain (AFYVE) 3
Switzerland (Schweizer Hitparade) 8
UK Singles (OCC) 2
US Billboard Hot 100 1
US Adult Contemporary (Billboard) 36
US Dance Club Songs (Billboard) 2
US Mainstream Rock (Billboard) 16
US Cash Box Top 100 1
West Germany (GfK) 4

RELEASE INFORMATION:
Label: RCA Victor ‎– PD-13502
Format: Vinyl, 12″, Single, 33 ⅓ RPM
Country: US
Released: 1982
Genre: Electronic, Pop
Style: Synth-pop

CREDITS:

NOTES:
From the album “Sweet Dreams (Are Made Of This)“, AFL1-4681

Buy the 12” at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus:  Ortofon Concorde Music Black
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!


Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.


Yaz – Nobody’s Diary / State Farm (US 12″) (1983)

Burning The Ground Exclusive

Released in May 1983, “Nobody’s Diary” was the final single by British synth-pop duo Yazoo—known as Yaz in North America—and the only single taken from their second and final studio album You and Me Both (1983). It also marked the final chapter of one of the most influential synth-pop partnerships of the early ’80s: Alison Moyet and Vince Clarke.

Written by Alison Moyet when she was just 16 years old, “Nobody’s Diary” carries a raw emotional honesty that makes it one of Yazoo’s most enduring songs. At the time, Moyet was still playing in local bands around South East Essex, and even then the song had the lyrical maturity and emotional depth that would later define her solo work. Although written years earlier, it became one of the last tracks recorded for You and Me Both. Vince Clarke later recalled that it immediately stood out as the obvious choice for a single.

Recorded at Eric Radcliffe’s Blackwing Studios and produced by Yazoo, Eric Radcliffe, and Daniel Miller, the track perfectly balances Clarke’s icy synth precision with Moyet’s rich, soulful vocal delivery. That contrast between emotional vulnerability and machine-like rhythm is exactly what made Yazoo so special.

Lyrically, “Nobody’s Diary” is about privacy, emotional distance, and the pain of being misunderstood or exposed. Moyet delivers every line with conviction, making the song both intensely personal and universally relatable at the same time. It remains one of her finest recorded performances.

The single reached #3 on the UK Singles Chart, becoming one of Yazoo’s biggest hits and a fitting final statement before the duo split.

The original sleeve artwork is also memorable. Designed by Steven Appleby with the sleeve produced by Acrobat Design, the cover depicts what was described as a “rather hip young man in a bathtub” who seems so lost in his private thoughts that he has forgotten to turn off the water. It’s a clever visual metaphor for the song’s themes of introspection and emotional isolation.

Mute Records also issued a second, limited-edition 12-inch single in the UK featuring “Situation” on the flip side. “Situation,” of course, became one of Yazoo’s signature club tracks and appeared on the U.S. version of Upstairs at Eric’s, though it was only added to later UK pressings of that album.

My copy is the U.S. Sire Records 12-inch, where “Nobody’s Diary” was issued as a double A-side with “State Farm.” In the UK, “State Farm” served as the standard B-side to “Nobody’s Diary” and did not appear on the UK version of You and Me Both. It was later included on the North American version of the album, making it a natural pairing for the U.S. release.

“State Farm” is one of Yazoo’s darker and moodier tracks, with a stark electronic atmosphere that contrasts beautifully with the emotional sweep of “Nobody’s Diary.” Together, they made a perfect club package for American DJs.

That strategy paid off—the double A-side “Nobody’s Diary” / “State Farm” reached #1 on the Billboard Hot Dance Club Play chart in July 1983, giving Yazoo one final U.S. dancefloor triumph.

Even decades later, “Nobody’s Diary” still sounds timeless. It captures everything that made Yazoo extraordinary: sharp songwriting, emotional honesty, inventive production, and that unique tension between heartbreak and synthesizers.

It was the end of the duo—but what a beautiful way to say goodbye.

SIDE A:
Nobody’s Diary (Extended Version) 6:08

SIDE B:
State Farm (Extended Version) 6:38

VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint

Chart Performance — Yaz: Nobody’s Diary / State Farm (1983)
Chart Peak Position Date
US Billboard Dance Club Songs #1 1983

RELEASE INFORMATION:
Label: Sire – 0-20121, Sire – 9 20121-0 A, Mute – 0-20121, Mute – 9 20121-0 A
Format: Vinyl, 12″, 45 RPM, Specialty Pressing
Country: US
Released: 1983
Genre: Electronic
Style: Synth-pop

CREDITS:

NOTES:
Recorded at Blackwing Studios 1983.

Made in U.S.A.

Buy the 12″ at DISCOGS

VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND

THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus:  Ortofon Concorde Music Black
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
Audio Interface: MOTU M4
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner

SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator

RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi

**24bit FLAC Only Available For Seven Days!


Password: burningtheground

You can help show your support for this blog by donating using PayPal. I appreciate your help.