Yannick Franck / Hierophany Жанр: Drone, Ambient, Field Recordings, Monochrome Vision Носитель: CD Страна-производитель диска (релиза): Russia Год издания: 2012 Издатель (лейбл): Monochrome Vision Номер по каталогу: mv44 Страна исполнителя (группы): Belgium Аудиокодек: FLAC (*.flac) Тип рипа: tracks+.cue Битрейт аудио: lossless Продолжительность: 00:36:24 Источник (релизер): свой фирменный диск Наличие сканов в содержимом раздачи: Треклист:
1. Mausoleum
2. The Dive
3. Dying Down
Лог создания рипа
Exact Audio Copy V1.1 from 23. June 2015 EAC extraction logfile from 29. November 2015, 16:32 Yannick Franck / Hierophany Used drive : ASUS CRW-5232AS Adapter: 0 ID: 0 Read mode : Secure Utilize accurate stream : Yes Defeat audio cache : Yes Make use of C2 pointers : No Read offset correction : 6 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 : Installed external ASPI interface Gap handling : Appended to previous track Used output format : User Defined Encoder Selected bitrate : 768 kBit/s Quality : High Add ID3 tag : No Command line compressor : C:\Program Files\FLAC\flac.exe Additional command line options : -6 -V -T "ARTIST=%artist%" -T "TITLE=%title%" -T "ALBUM=%albumtitle%" -T "DATE=%year%" -T "TRACKNUMBER=%tracknr%" -T "GENRE=%genre%" -T "COMMENT=%comment%" -T "BAND=%albuminterpret%" -T "COMPOSER=%composer%" %haslyrics%--tag-from-file=LYRICS="%lyricsfile%"%haslyrics% -T "DISCNUMBER=%cdnumber%" -T "TOTALDISCS=%totalcds%" -T "TOTALTRACKS=%numtracks%" %hascover%--picture="%coverfile%"%hascover% %source% -o %dest% TOC of the extracted CD Track | Start | Length | Start sector | End sector --------------------------------------------------------- 1 | 0:00.00 | 11:30.63 | 0 | 51812 2 | 11:30.63 | 11:34.14 | 51813 | 103876 3 | 23:05.02 | 13:19.03 | 103877 | 163804 Track 1 Filename D:\zzz\01 - Mausoleum.wav Pre-gap length 0:00:02.00 Peak level 97.1 % Extraction speed 4.2 X Track quality 100.0 % Test CRC 7E852BE1 Copy CRC 7E852BE1 Accurately ripped (confidence 1) [67F5C068] (AR v2) Copy OK Track 2 Filename D:\zzz\02 - The Dive.wav Peak level 97.3 % Extraction speed 5.0 X Track quality 99.9 % Test CRC B32F4808 Copy CRC B32F4808 Accurately ripped (confidence 1) [D8ACD4C6] (AR v2) Copy OK Track 3 Filename D:\zzz\03 - Dying Down.wav Peak level 97.5 % Extraction speed 5.7 X Track quality 99.9 % Test CRC 6BBC03EB Copy CRC 6BBC03EB Accurately ripped (confidence 1) [AE8E7841] (AR v2) Copy OK All tracks accurately ripped No errors occurred End of status report ---- AcoustID Plugin V1.2.0 Total fingerprints: 3 ==== Log checksum 95A9B6E03D5446ED07690A6F69FE0498415A84176B4DC5D8A1E4ABDCEEBF6CC2 ====
Содержание индексной карты (.CUE)
REM GENRE "Drone, Dark Ambient" REM DATE 2012 REM DISCID 26088803 REM COMMENT "ExactAudioCopy v1.1" PERFORMER "Yannick Franck" TITLE "Hierophany" FILE "01 - Mausoleum.wav" WAVE TRACK 01 AUDIO TITLE "Mausoleum" PERFORMER "Yannick Franck" INDEX 01 00:00:00 FILE "02 - The Dive.wav" WAVE TRACK 02 AUDIO TITLE "The Dive" PERFORMER "Yannick Franck" INDEX 01 00:00:00 FILE "03 - Dying Down.wav" WAVE TRACK 03 AUDIO TITLE "Dying Down" PERFORMER "Yannick Franck" INDEX 01 00:00:00
Лог проверки качества
d:\>d:\aucdtect -d/-m0 d:\zzz\*.wav auCDtect: CD records authenticity detector, version 0.8.2 Copyright (c) 2004 Oleg Berngardt. All rights reserved. Copyright (c) 2004 Alexander Djourik. All rights reserved. ------------------------------------------------------------ Processing file: [01. Mausoleum.wav] ------------------------------------------------------------ This track looks like CDDA with probability 100% ------------------------------------------------------------ Processing file: [02. The Dive.wav] ------------------------------------------------------------ This track looks like CDDA with probability 99% ------------------------------------------------------------ Processing file: [03. Dying Down.wav] ------------------------------------------------------------ Could not qualify the source of this track. ------------------------------------------------------------ Final Conclusion: ------------------------------------------------------------ These tracks looks like CDDA with probability 100%
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Album Reviews
"By day the pillar of cloud did not cease to guide them on their path, nor the pillar of fire by night to shine on the way they were to take." - Nehemiah 9:19 More field recordings, but perhaps a bit differently when it reaches the point of release, is the new release by Belgium's Yannick Franck. He's been releasing on various labels before, such as Silken Tofu, Young Girls Records and Silentes, and has worked with K11, Craig Hilton, Alan Trench and Esther Venrooy. Here however he is solo and he uses instruments and 'non musical objects', voice, radio signals and field recordings. Perhaps so far not much difference, but it's the way Franck executes his music. Instead of using the collage form, Franck sets wheels in motion, and when they are all in motion, then he subtly moves them about. Perhaps the word 'drone' music could apply to his music? Derived from various sources, his music is played altogether at the same time, adding and subtracting on microscopic level, all along using minimal changes in the use of sound effects. Quite a dense sound he arrives at here and like with the other release, the three pieces flow nicely into eachother. In the final part, 'Dying Down', you realize you are in a church, with whispering voices, and a far away choir practice. And then it seems like the other two pieces shared that same sort of big hall/cathedral reverb. That makes it perhaps all a bit too religious for my taste, but throughout I thought this was a very refined disc of challenging drone music. - Frans de Waard, Vital Weekly Yannick Franck’s Hierophany describes a ritualistic journey of an individual emerging into the world. By establishing two distinct fields within “Mausoleum,” Yannick sets the theme for the entire album’s composition. In the foreground a loud, deep, and low-fi resonance isolates the listener within some dark internal chamber. There is a warmth within the moderate frequency of electronic drones and buzzings of Yannick’s electronic output that suggests an active hibernation, each breath feels to be steadily strengthening. Through the muffling walls of this chamber, a complex and spontaneous field of sound hints at the world beyond. The precise locations are ambiguous. At times the metallic scraping, the quickening and chaotic rhythms, and human voices—a collage of electronics and field recordings that—suggest a close proximity to the inner chamber and resemble the acoustics of a factory or a train station. When these sounds are softened and slowed down, it seems that the chamber has been isolated—as though stored in the undercarriage of a plane or ship. These alternating soundscapes suggest that the chamber is moving somehow through different territories, unaffected and undisturbed. This strong dichotomy—between inside and outside/near and far—seems to absolve within “Dive.” Here, through a lengthening of resonance, the deep-pitched and confining space of the chamber seems to fall away, and the steady pulses of breath become exploratory and bewildered. The space which Yannick describes is massive—such as the towering walls of a gothic cathedral—and filled with harmonious chimes and the communal chants of a human choir which surround and immerse the listener. A thematic rise in pitch during this track emphasizes the ethereality of this space. It is filled with a sacred light. The comfort of “Dive” is confounded within the last few minutes of the album. “Dying Down” departs from the sonorous space of the track directly proceeding, yet it does not quite return to the profane sobriety of the first track. Hierophany closes with crisp field recordings taken while wandering through and brushing against the urban environment. It is here that the individual has arrived with the renewed energy of a fresh start. The bass of the embryonic chamber of the first track is completely shed, as the thematic tones seem to find a medial regulation. Yet, it becomes clear here that the freedom alluded to in the middle track might have been a deception: the presence of any resonance implies a boundary, even if barely perceivable. As the frame enlarges within Hierophany to encompass the entire world, the individual blurs into it. The last moments are preludial: is this courage or sacrifice? - Amelia Ishmael, Art21, 15 Jan 2013
