ABB

NY

New York

Fillmore East

2/11/1970

1

See Comments

(Early show) Master Soundboard Reel > Cassette > DAT> CDR* > Remastered** > SHN


Disc 1
1. In Memory of Elizabeth Reed 10:00
2. Statesboro Blues 4:16
3. Trouble No More 4:42
4. Hoochie Coochie Man > 4:34
5. Mountain // Jam 18:30

Total Time 42:04

-----------------------------------------------

*EAC'ed / SHN'ed by Scott Clugston 7/4/01
**Digitally remastered by Garrett Van Cleef*** (rev. 2) 12/12/01

***Current email at gvancleef.com

Note:
This is the second revision of the remaster. Fixed several
pops and other minor problems.

Posted to gdlive.com by GVC

ABB

OH

Cinncinatti

Ludlow Garage

4/4/1970

2

SBD>?>CDR>SHN

Click between one of the tracks on disc 1 (not cut on sector boundaries?), during stage chatter

ABB

NY

New York

Fillmore East

6/27/1971

1

SBD>?>CDR>EAC>SHN

SMOKIN' show, great sound quality. A must have

ABB

NY

New York

A&R Studios, WPLJ-FM

8/26/1971

1

FM>Reel>Cassette>DAT>CDR

ABB

CA

Daly City

Cow Palace

12/31/1973

5

SBD Master Reels->DAT->CD-R

Includes Marshall Tucker Band opener

ABB

England

London

Hammersmith Odeon

6/25/1991

2

SDBD (FM?)>?>CDR>EAC>SHN

ABB

CA

Mountain View

Shoreline Amphitheatre

8/1/1999

2

DAUD?>CDR

WOW!! I can't believe that's an audience tape!!!!

ABB

NY

New York

Hammerstein Ballroom

9/21/2000

1

DAUD (mic info unknown)

One For Woody Benefit

ABB

GA

Hotlanta

Hi-Fi Buys Amphitheatre

8/5/2001

2

Neuman 184 -> HHB Portadat -> D8

D8 -> Event Gina -> Sound Forge 4.5 (record and convert 48 to 44.1) -> CD Wav -> mkw

Acid Test Compilation

n/a

n/a

n/a

4

See Comments

Grateful Dead & Merry Pranksters

The Acid Test Reels

1965-1967



A chronological compilation of the Acid Test recordings listed in

The Grateful Dead Tapers Compendium Volume One.





DISC ONE: Fillmore Acid Test/Sound City Acid Test



The Fillmore Acid Test

Fillmore Auditorium, San Francisco, CA

January 8, 1966

1. Stage Chaos/More Power Rap

2. King Bee

3. I'm A Hog For You Baby

4. Caution: Do Not Step On Tracks >

5. Death Don't Have No Mercy

6. Star Spangled Banner / closing remarks



The Sound City Acid Test

363 6th Street, San Francisco, CA

January 29, 1966

7. Ken Kesey interviewed by Frank Fey

8. Ken Babbs and harmonica

9. Take Two: Ken Kesey

10. Bull

11. Peggy The Pistol

12. One-way Ticket

13. Bells And Fairies

14. Levitation

15. Trip X

16. The End



7-16 The Acid Test: A Sound City Production





DISC TWO: Pico Acid Test /S.F. State U Acid Test (pt.1)



The Pico Acid Test

Danish Center, Los Angeles, CA

March 12, 1966

1. Viola Lee Blues

2. You See A Broken Heart

3. In The Midnight Hour



The San Francisco State Acid Test

Whatever It Is Festival

San Francisco State University, San Francisco, CA

Stereo Control Room Master (rec. 4:00AM - 6:00AM)

October 2, 1966

4. The Head Has Become Fat Rap

5. A Mexican Story: 25 Bennies

6. A Tarnished Galahad

7. Get It Off The Ground Rap >

8. It's Good To Be God Rap >

9. Nirvana Army Rap >

10. The Butcher Is Back

11. Acid Test Graduation Announcement

12. Send Me To The Moon >Closing Rap



Credits on 10/2/66:

Voices: Ken Kesey and Hugh Romney

Guitar: Ken Kesey

Violin: Dale Kesey

Organ: Jerry Garcia

Engineering: Steve Newman, Ken Kesey, Mountain Girl





DISC THREE: S.F. State U Acid Test (pt. 2)/Graduation Jam



The San Francisco State Acid Test

Whatever It Is Festival

San Francisco State University, San Francisco, CA

October 2, 1966

1. Ken Kesey's dialogue (isolated remix)



Merry Prankster Sound Collage Sequences

October 2, 1966

2. Prankster Music/Sound Collage #1(sequence 1)

3. Kesey Rap > Prankster Music/Sound Collage #2 (sequence 2)

4. Prankster Sound Collage #3 > Prankster Raga(sequence 3)

Prankster Recordings broadcast over the P.A.



End of Whatever It Is Festival

October 2, 1966

5. Closing Jam

6. Prankster Electronics



Acid Test Graduation Jam

Winterland, San Francisco, CA

October 31, 1966

7. Jam Session (musicians unknown)

from The World Of Acid film soundtrack





Disc Four: Related Recordings



Neal Cassidy & The Warlocks 1965

1. Speed Limit

studio recording/Prankster production tape circa late 1965

Straight Theater, Haight Street, San Francisco, CA July 23, 1967

2. Neal Cassidy Raps (backed by The Dead)

recording released as a flexi-disc in the 1st printing of The Dead Book



Acid Tests Production Reel

3. Jerry Garcia commentary with Acid Test audio

710 Haight Street House, San Francisco, CA summer 1967

4. - 6. Jerry Garcia

one hour interview about music, drugs, politics and social changes circa 1967





compilation and package by Alan Bershaw

shn discs by TaW

Note 1: I split the 1h Jerry interview on disc 4 into 3 smaller pieces (a-c).

Note 2: The shn-tracks for audio disc 4 are split between shn-discs 2 and 3!

Acoustic Hot Tuna

CA

Petaluma

Mystic Theatre

12/8/2000

2

SBD>Tascam DA-P1 DAT>coax digital out>Sek'd Prodif Plus>Sound Forge>CD Architect>?>SHN

Acoustic Hot Tuna

NJ

Camden

Tweeter Center

7/28/2001

1

See Comments

Taper: Tim Newman

Source: AKG 480/CK 63 caps (hyper-cards)@ 135 degrees w/ bass roll-off set @ 70 Hz>Denecke PS-2>Oade modified SBM-1 (24 bit processing and gain stage upgrades)>D8

Transfer:D8>Oade active cable>Interlink coax cable>SB Live S/PDIF in>Sound Forge 4.5 (recording and normalization)>CD Wave>SHN v3 (seek tables appended)

Aquarium Rescue Unit

TN

Charlotte

The Sandbar

6/10/1994

2

See Comments

Source: Audience recording (mic info unknown)>?>CDR>EAC (Plextor UltraPlex 40x; wav's extracted multiple times and bit-compared)>SHN v3

Band Of Gypsies

NY

New York

Fillmore East

1/1/1970

3

Liberated Bootleg (SBD)>?>SHN

Both Early, and late Shows; Sounds nice

Band, The

CA

San Francisco

Winterland Arena

11/25/1976

4

SBD>?>CDR

Complete "Last Waltz" farewell show w/ many, many guests

Beatles

N/A

N/A

N/A

1

Liberated Bootleg (originally titled Ultra Rare Trax Vol 1 & 2)>SHN

For more complete information check: http://www.yokono.com/collection/beatles/bootleg/bootleg1.html##1

Black Crowes

NY

New York

Hammerstein Ballroom

9/21/2000

1

DAUD (mic info unknown)

One For Woody Benefit

Clapton, Eric

RI

Providence

Civic Center

7/10/1974

1

???>Little Wing Bootleg (Multi Coloured Music)>cdr>SHN

Claypool, Les

NY

Turin

Snowridge Ski Area (moe.down musicfest)

9/2/2000

2

See Comments

source: DSBD
transfered: tascam da20mkII>za2>wav>shn using soundforge and cdwav

Claypool, Les

NJ

Holmdel

PNC Arts Center

7/27/2001

1

See Comments

Taper: Tim Newman

Source: AKG 480/CK 63 caps (hyper-cards)@ 90 degrees>Denecke PS-2>Oade modified SBM-1 (24 bit processing and gain stage upgrades)>D8

Transfer:D8>Oade active cable>Interlink coax cable>SB Live S/PDIF in>Sound Forge 4.5 (recording and normalization)>CD Wave>SHN v3 (seek tables appended)

Notes: Some light EQ'ing was made using Cool Edit Pro…

Cliff, Jimmy

NJ

Trenton

Conduit

12/19/2002

2

Source: SBD>DA-P1>DA-P1 @44.1

Transfer: DA-20 MKII>Waveterminal 2496>Wavelab 3.0>Sonic Foundry Batch Converter 5.0 (normalization)>CD Wave>SHN v3 (seek tables appended)

Comments: There were some problems with the keyboards that night causing some fairly audible hiss to come through the house P.A. However, the hiss is intermittent, and won't interfere with the enjoyment of the show.

Collins, Albert

Canada

Toronto

Unknown

7/27/1985

1

SBD>?>CD>EAC>SHN

Collins, Albert

CO

Morrison

Red Rocks

8/16/1992

1

SBD>DAT>CDR>EAC>SHN

Coltrane And Davis

Holland

Amsterdam

Green Dolphin Street

4/9/1960

1

SBD/8 46(DATC1)>--CD>DAT1>CDR1

John Coltrane
Miles Davis
Green Dophin Street
Amsterdam, Holland
4-9-60

Miles Davis Quintet
April 9, 1960
Kurhaus, Scheveningen
VARA radio broadcast

Miles Davis (tpt)
John Coltrane (ts)
Wynton Kelly (p)
Paul Chambers (b)
Jimmy Cobb (d)
So What 17:40
'Round Midnight 5:47
On Green Dolphin Street 12:37
Walkin' 8:30
The Theme 0:40

SBD/8 46(DATC1)>--CD>DAT1>CDR1

Comotion

NV

Lost Wages

Huntridge Theatre

9/29/2000

2

?

Crusader Rabbit Stealth Band

CA

Mill Valley

Sweetwater Saloon

6/10/2001

3

FOB B&K 4011s > Lunatec V2 > Sonic AD2K > Tascam DA-P1
digitally patched Sony D8 DAT(master)
DAT > standalone CDR burner > CDRs > EAC V0.9prebeta>SHN

David And The Dorks

CA

San Francisco

The Matrix

12/20/1970

1

SBD>Rn>DAT>CD>EAC>SHN

Dylan And The Dead

NJ

East Rutherford

Giants Stadium

7/12/1987

1

DAUD>?>CDR

Gans, David

PA

Philadelphia

Silk City

5/12/2001

2

AKG 480b w/ck63 caps>Denecke PS-2>Oade modified SBM-1>D8>Oade Active Cable>SBLive S/PDIF in>Sound Forge 4.5 (recording and normalization)>wav>CD Wave>SHN v3 (seeking Shorten)

Garcia and Grisman

CA

San Francisco

Warfield Theatre

12/8/1991

2

sbd > dat > cdr > eac > shn

flaws: first couple o' notes in an otherwise spectacular, soul-penetrating
Red Rockin' Chair.

// tape break/flip

wavs extracted using EAC in secure mode with appropriate offsets in
triplicate with matching md5s.

uploaded to easywind.etree.org by Chris Ladner <neo_levo@yahoo.com>, 2/01.

Garcia Band, Jerry

CA

Berkeley

Keystone

12/31/1975

2

SBD->Master Reels->DAT->CD-R

Garcia Band, Jerry

CA

Berkeley

Keystone

2/14/1976

2

SBD> MReel> Cassette> DAT> CD> (EAC)WAV>SHN

Garcia Band, Jerry

RI

Pawtucket

Leroy Theater

3/11/1978

2

AUD>?>CDR

Great sounding AUD. External notes from http://www.thejerrysite.com/1978_setlist.stm: Comments: There was also an interview with the Jerry Garcia Band on this date, done by Andy Gefen, that also circulates. The complete show circulates in SBD in the analog domain. Set 2 circulates in SBD in the Digital domain with a splice in Tore Up Over You. IMO, the AUD tape is a much better than the SBD tapes.
Recordings: 161 AUD (DAT: MAC>D), 161 SBD, 73 SBD (DAT: MSC>D)
Contributors: Marc Schaeffer, Ryan Shriver

Garcia Band, Jerry

NY

New York

Lunt-Fontanne Theatre

10/28/1987

1

SBD>?>DAT>CDR>EAC>SHN

acoustic set

Garcia Band, Jerry

MD

Columbia

Merriweather Post Pavillion

9/2/1989

2

Schoeps CMC-44 (FOB) > Oade pre-amp > Sony PCM-F1 > Sony SL 2000 (Beta)

God Street Wine

MA

Boston

Paradise Rock Club

4/28/1994

2

See Comments

Source: SBD->DAT
Conversion: DAT -> CDR [S/PDIF -> Hhb 830] -> HD [EAC] -> SHN

Gov't Mule

n/a

n/a

n/a

1

See Comments

"Dancin Across The Water" compilation of tracks from spring tour 1998

Gov't Mule

NY

New York

Wetlands Preserve

12/31/1996

3

AKG 460b + ck63>?>DAT>CDR>EAC>SHN

Great sound

Gov't Mule

CA

Solana Beach

The Belly Up

3/29/1998

3

Mic info unknown

Conversion info:Sony TCD-D7 > Opcode DATPort > Pentium III 550 > Samplitude (48kHz > 44.1kHz) > CDWAV > SHN

Gov't Mule

PA

Philadelphia

Theatre Of Living Arts

9/23/1998

3

Neumann KM140>Lunatec V2>D8>D7>SHN>CDR

W/Bruce Willis (yep, the actor) on harmonica for encores

Gov't Mule

PA

Philadelphia

Theatre Of Living Arts

3/19/1999

3

Gefell M210>Oade Preamp>SBM1>DAT>CDR>EAC>SHN

Gov't Mule

KS

Lawrence

The Grenada Theatre

4/11/2000

3

AKG 451's > DAP1 > TCD-D7

Conversion: Ken Kieffer Equipment: Sony TCD-D7 > Opcode DATPort > Pentium III 550 > Samplitude (48kHz > 44.1kHz) > CDWAV > SHN; NOTES (from .txt file included w/ SHN's): This show definitely has a "crunchy" sound. This was due to an overdriven PA in the club. I patched out of two different rigs, and both tapes sound the same. This show is still smoking, but it should be known before it is downloaded that it does suffer from the cruchiness aforementioned. The third disc does not suffer from this effect as much as the first two, so I still believe this show is worthy of circulation. Enjoy!

Gov't Mule

PA

Philadelphia

The Electric Factory

10/12/2001

2 (1X74min and 1x80min)

See Comments

Taper: Tim Newman

Source: AKG 480b/CK63>Denecke PS-2>Oade Mod SBM-1>D8 (48kHz)

Transfer: D8>Oade active cable>Waveterminal 2496>Sound Forge 4.5 (recording, fades and 48>44.1 resampling)>CD Wave>SHN v3

Comments: Requires 1x74min and 1x80min disc

Grateful Dead

CA

Rio Nido

Dance Hall

9/3/1967

1

See comments

This tape is not a master, it's a 1st gen.
It takes several minutes for the mix to come together in the beginning
"Schoolgirl" is cut @ 10:43
"Viola Lee" is cut @ both ends
The sound quality deteriorates towards the end of the "Alligator' jam

Grateful Dead

CA

San Francisco

Carousel Ballroom

2/14/1968

2

MR>DAT>DAT>CD>EAC>SHN

Some portions (Tuning Break->Midnight Hour) may be from another source, probably the FM broadcast of the show -G Also includes alternate, noise-reduced versions of some tracks. See following: The tracks from "Tuning Break" thru "Midnight Hour" appear to be from a different
source than the rest of the show (which is pretty clean). These tracks have a significant
increase in the amount of tape hiss present. I found it to interfere with my enjoyment
of the music.

I created Hiss Reduced versions of these tracks for this supplement. I also
crossfaded the real change (?) at ~11:40 in Alligator so that it doesn't
blow your tweeters out! If you wish to create a CD using these HR tracks, simply use
them instead of the ones in the main distribution. The main distribution files were
the source for these supplment tracks.

I used Sound Forge Noise Reduction to do the hiss reduction and other "voodoo".
The tracks which were modified are included in the directory with this file.

Here are the tracks that this supplement replaces:

Disc 1
7. Midnight Hour

Disc 2
7. Tuning Break
8. Alligator > Drums > Alligator (reprise) >
9. Caution (Do Not Stop On Tracks)
10. Alligator Underwater Feedback

Enjoy!

Garrett Van Cleef
garrett@everstream.com
garrett@en.com

9/29/2000

Grateful Dead

CA

Los Angeles

Shrine Auditorium

8/23/1968

1

Vault Tapes>?>CDR

Mastered by Dan Healy for "Two From The Vault" but never used. Part of mix disc; also contains 3-23-75

Grateful Dead

WA

Sultan

Betty Nelson's Organic Raspberry Farm

9/2/1968

1

SBD>Reel>DAT>WAV via ZA2>CD>EAC>SHN

Death//; Cryptical cuts in @ beginning of 1st verse; Caution//

Grateful Dead

CA

San Francisco

Avalon Ballroom

10/13/1968

1

SBD>?>SHN

Defects:
d1t01 0:02-0:04 - fluttering ticks (Dark Star)
d1t01 0:58-1:00 - left channel dropout
d1t01 1:00-1:01 - right channel dropout
d1t01 1:00-2:42 - slightly degraded sound?
d1t01 8:44-9:19 - intermittent quiet noise in left channel
d1t01 10:23, 10:27 - static in left channel
d1t02 0:00 - pop in right channel (Stephen)
d1t02 0:03, 0:04 - click in right channel
d1t02 0:08 - quiet static in left channel

Grateful Dead

FL

Hallendale Beach

Gulfstream Park Raceway

12/29/1968

1

SBDMR>C1>DAT>CDR>EAC>SHN

C1 = Latvala's Cassette

Grateful Dead

CA

San Francisco

Avalon Ballroom

1/25/1969

1

MR>Cass>DAT>ZA2>CD>EAC>SHN

Set II only; AWBYGN//

Grateful Dead

CA

San Francisco

Fillmore West

3/2/1969

3

MSR>? Number of DAT>? Number of CDR>EAC>SHN

Grateful Dead

CA

San Francisco

Avalon Ballroom

4/5/1969

2

SBD > REEL > REEL > DAT > SP/DIF > HD > SHN

Grateful Dead

MA

Boston

The Ark

4/21/1969

3

MSR > DAT > CDR

Cryptical //Envelopment (reprise), Feedback//; filler: 1/20/68
Municipal Auditorium
Eureka, CA
3. //Clementine>
4. New Potato Caboose>
5. Born Cross-Eyed>
6. Spanish Jam>
7. Caution Jam//

Grateful Dead

MA

Boston

The Ark

4/22/1969

3

Master Soundboard Reel > Cassette > DAT x2 > CDR > SHN

//Top of the World, The Other //One>; All cuts are on master reels…

Grateful Dead

IL

Chicago

Electric Theatre

4/25/1969

1

pre-FM Grateful Dead Hours #578, 579

pre-FM CD>CD(2?)>EAC>WAV>Cool Edit (cut & paste only)>CDWAV>WAV>SHN.

Grateful Dead

IL

Chicago

Electric Theatre

4/26/1969

3

SBD Reel > Cass Master > DAT > CDR

Silver Threads and Lovelight cut. Dwight Holmes points out that the splice after Silver Threads is the likeliest place for a set-break, if there was one. Before Baby Blue Bobby says "This is the home stretch for us. Because we're goin' home." What's Become Of The Baby was played back from studio tape while the band played space live on stage.

Grateful Dead

MA

Boston

Boston Tea Party

12/31/1969

3

SBD->DAT->Cass->DAT->Sonic Sense->CD-R (NOTE: the DAT master from the vault reels is unavailable)

Grateful Dead

CA

San Francisco

Family Dog

2/28/1970

2

SBD>MR>CASS>DAT>CDR>EAC>SHN

Little Sadie missing

Grateful Dead

CA

San Francisco

Winterland Arena

4/15/1970

1x80 min.

SBD>MR>C>DAT>CD>CD(EAC)>SHN

Incomplete set. Here's what's there: 1. Man's World 8:20
2. Candyman 5:16
3. Cryptical> 2:04
4. Drums> 3:56
5. Jam> 5:55
6. Drums> :24
7. Other One> 8:42
8. Cryptical> 3:20
9. Dire Wolf 4:10
10 Dancin'// 12:15
11. //Lovelight> 12:47
12. NFA> 2:18
13. Lovelight 7:15

Grateful Dead

MO

Kirkwood

Merramec College

5/14/1970

1

SBD>?>CDR>SHN

Partial Set II; what's there:CASEY JONES
MAMA TRIED ®
HIGH TIME
SCHOOLGIRL
ME AND MY UNCLE
COLD RAIN & SNOW
ATTICS OF MY LIFE
CUMBERLAND BLUES
NEW SPEEDWAY BOOGIE ®
NOBODY'S FAULT JAM ®
NEW SPEEDWAY BOOGIE ®
ST.STEPHEN ®
NOT FADE AWAY ®
LOVELIGHT//
ENCORE
COLD JORDAN

Grateful Dead

CA

San Francisco

Fillmore West

6/7/1970

3

MR>Cass>DAT>ZA2>CD>EAC>shn

Flaws: There is a reel cut during Casey Jones and It's A Man's World.

DAT to CD conversion by David Hollister

Editing: Recorded with SoundForge. Burned to CD using CD Architect. The only
editing was to remove approximately 4 minutes and 22 seconds of repeated
material on the DAT during the banter between Top of the World and Cosmic
Charlie. I also removed a couple of minor pops. Other than that, no editing
was done. The breaks between each CD were breaks that were already present on
the DAT. The only addition was 2 seconds of silence prior to the start of
disc 3.

Grateful Dead

NY

New York

Fillmore East

9/18/1970

1

SBD>?>CDR>EAC>SHN

Partial- Operator thru Good Lovin'

Grateful Dead

CA

San Francisco

Winterland Arena

12/31/1970

2

See Comments

12/31/70:* Dead Winterland - very rare in complete form. SOURCE: ENTIRE SHOW - UNKNOWN; Dire Wolf - Sugar Magnolia Pre-FM SBD, excellent quality 2 CDs

SETLIST:
CDI:
1. Truckin' (AUD or from the TV broadcast recorded with mics)
2. Monkey & The //Engineer (same)
3. Cold Rain & Snow (possible SBD or lower gen source)
4. Easy Wind.... Big RxR (same)
5. Cumberland Blues (same)
6. Dire Wolf (Pre-FM Crispy SBD->MR->DAT->CD-R)
7. Cryptical->Drums->Other One->Cryptical ("")
8. Black Peter ("")
9. Sugar Magnolia* ("")

CD II
1. China Cat Sunflower-> (same as set I part I)
2. I Know You Rider ("")
3. Good Lovin'-> (SBD->MR->?->CAS->DAT->CD-R)
4. Uncle John's Band ("")
FILLER: THE WHO 12/31/70 Lulu T.V. Show
5. I Don't Even Know Myself (T.V.->?->CD-R)
6. /Naked Eye ("")
FILLER: Grateful Dead 2/11/70 b
7. Dark// Star (SBD->MR->DAT->MP3->CD-R)
FILLER: Grateful Dead 4/15/70
8. Dancin' In The Streets

Grateful Dead

NY

Portchester

Capitol Theatre

2/18/1971

3

BBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R

The Sound Forge noise reduction was used to attenuate a very narrow frequency band (in the vicinity of 8000 Hz) which was present as interference on the original reels. See http://members.home.net/orf/notch.html for details.

Grateful Dead

NY

Portchester

Capitol Theatre

2/19/1971

3

7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > Fostex D5 @ 48 kHz (Dolby not decoded?) > WAV > Cool Edit Pro (filtering and sample rate conversion) > SHN data files (seed)

The recording is in mono, and reflects very occasional analog tape flaws such as bursts of flutter. These flaws are from the master. The lineage information available states that Dolby A decoding was not performed, but the sound is nevertheless very good and does not sound compressed. As with the other Port Chester recordings, a slight whine comes and goes hroughout the recording. We have applied a very light notch filter as needed. The filtering was accomplished using Cool Edit Pro, and consisted of a sequence of notch filters at and around 8k, approx 1k wide and only 2db in depth. The filtering was mainly during the in-between banter but also on the songs where required - more so the 2nd set. In The Other One here ere two short bursts of static that appear to have come from the stage, and these were reduced in level. No other filtering was performed. As indicated in the set list, Bird Song is cut. There are also several cuts on the master during crowd noise before Truckin' starts the first set, but who cares?

Grateful Dead

NY

New York

Manhattan Center

4/5/1971

3

7" two track BBD reel w/dolby A @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > dolby A decoder > analog in PCMF1 PCM501ES analog out > Fostex D5 @ 48 kHz > ?# of DAT clones (most likely no more than 3) > CD

CD2 4. Other One digi-dropout @ 0:03 (less than a second)reel splice which loses jam between verses and almost all of the second verse where track 5 starts 8. King Bee weird audience noise @ 0:07, like an audience mic feed slipped into the mix? CD3 1. Sing Me low levels during first 1:35 – JG is teaching the band the chorus.High-pictched whine that lasts until about 2:30 4. Lovelight intermitent digi-noise @ 9:25 --> 9:47subtle reel splice 13:26, the "Great big noble thighs " line is cut Lovelight is split between Tracks #4 & #5 with a big wet sloppy cut (don't know exactly how much is cut there?)

Grateful Dead

NY

New York

Manhattan Center

4/6/1971

3

7" two track BBD reel w/dolby A @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > dolby A decoder > analog in PCMF1 PCM501ES analog out > Fostex D5 @ 48 kHz > ?# of DAT clones (most likely no more than 3) > CD

CD ANOMALIES: CD1 8. Playin’ intermittent digi-pops from 0:13 to 0:19 reel splice near end of reprise section CD2 4. Loser reel splice at beginning CD3 2. GDTRFB reel splice & brief analog droput going into Track 3

Grateful Dead

NJ

Princeton

Dillon Gym

4/17/1971

3

See Comments

The lineage of these files is: Main: S:R?D Dub: S:RPD Both DATs were downsampled into my computer via ZA2 (48>44.1) The Main tape sounds much better than the dub - which is only used for 1.1 seconds (want to find it? Listen to the last time the guys say "the blues" in Bobbi McGee) Given the differences in the reel flip (at the end of lovelight) I would guess that the 'Main' tape represents a separate A>D transfer than the 'Dub' tape. If you know more, I'd love to hear about it.This tape is NOT an A+, healy master to DAT, multi-track remix, 96bit A>D conversion. This is from a reel made in 1971, so you will hear some rough bits. To the best of my knowledge, this transfer represents the best circulating copy in existence.

Grateful Dead

NY

New York

Fillmore West

4/26/1971

MR>R>D>CD

Grateful Dead

NY

New York

Fillmore East

4/26/1971

2

MSR 7 inch (7.5 ips) Revox A 77 >Alesis Masterlink>CD-R>SHN

//Big Boss Man

Grateful Dead

NY

New York

Fillmore East

4/27/1971

3

SBDMR>Reel>DAT>CD

Grateful Dead

NY

New York

Fillmore East

4/27/1971

See Comments

MSR 7 inch (7.5 ips) Revox A 77 >Alesis Masterlink>CD-R>SHN

(Tracked as part of 3 disc set including Dead set from same evening- 1x74 min & 2x80 min.) Errata: Lodi fades in already in progress. Hard To Handle starts late and has some sound fluctuations in the first minute or two. Sugar Magnolia fades in already in progress. There is a splice in the segue between Uncle John's Band and Lovelight. The faults listed above are consistent with previous versions

Grateful Dead

NY

New York

Fillmore West

4/27/1971

3

MR>R>D>CD

Have 2 versions of this one. Haven't compared which, if any, is the better of 2 yet. If interested, ask and I'll give them a side-by-side comparison.

Grateful Dead

NY

New York

Fillmore East

4/29/1971

4

SBD>?

4 discs total w/ NRPS set (3 discs if you want just GD material)

Grateful Dead

NY

New York

Fillmore East

4/29/1971

3 (2x74 min & 1x80 min.)

MSR 7 inch (7.5 ips) Revox A 77 >Alesis Masterlink>CD-R>SHN

The new Vault release, "Ladies and Gentlemen, the Grateful Dead" is a compilation of all five shows from the April, '71 Fillmore run. LAGTGD is from the multitrack masters and is commercially available on Arista, or from GDM at http://mars.dead.net

For the obsessive completist collectors, here are the complete 4-29-71 NRPS & Dead Sets directly from two-track masters. The well-known cuts from previous versions are still present on this version (Bird Song, Me & My Bobby McGee, and China Rider).

Grateful Dead

CA

San Francisco

Fillmore West

7/2/1971

3

Pre-FM SBD>RR>?>PCM>DAT>CDR

Grateful Dead

NY

New York

Madison Square Garden

12/6/1971

3

SBD>?>SHN

Grateful Dead

NY

New York

Felt Forum

12/6/1971

3

SBD>?>CDR

//Casey Jones

Grateful Dead

CA

San Francisco

Winterland Arena

12/31/1971

3

FM>RTR>DAT>CDR

Grateful Dead

England

London

Wembley Empire Pool

4/8/1972

3

SBD (See Comments for details)

Lineage: Discs 1 and 2: MR > DAT > CD > EAC > SHN
Disc 3: MR > DAT > Sonic Solutions > CD > EAC > SHN

Grateful Dead

France

Paris

Olympia Theatre

5/3/1972

4

SBD>?>CDR

Great show. China>Rider appears on Europe '72

Grateful Dead

France

Paris

Olympia Hall

5/4/1972

4

SBD>Reel>DAT>CDR

Known Flaws: d1t12 1:33-1:43 diginoise

Grateful Dead

Luxembourg

Luxembourg

Theatre Hall

5/16/1972

1

SBD>?>CDR>EAC>SHN

Set I only; missing Bertha

Grateful Dead

Germany

Munich

Kongressaal, Deutches Museum

5/18/1972

3

Pre-FM>?>CDR

Grateful Dead

CA

Sacramento

Memorial Auditorium

8/12/1972

3

See Comments

Source: SBD
Lineage: Reel master > unknown* > DAT > CDR > EAC > SHN
*Per Jeff Tiedrich
Thanks to Seth Kaplan for this copy!
Retracked (Cool Edit/CDWav) by G.S. Hamilton

Grateful Dead

CA

Berkeley

Berkeley Community Theatre

8/21/1972

3

SBD>Reel>?>PCM>DAT>CDR

Grateful Dead

OR

Veneta

Old Renaissance Faireground

8/27/1972

3 (2x74 min. & 1x80 min.)

See Comments

Lineage:
SBD->two-track MR->DAT->Sonic Solutions->CDR->EAC->
Sound Forge Edit (analog pop removal using pencil tool)->
Sound Forge Pitch Shift (antialias filter followed by pitch shift
of +19 cents)

David Gans seeded the show (SBD->MR->DAT->Sonic Solutions->CDR).
Adam Jerugim obtained a CDR copy, EAC'd and uploaded it to orf.cx.
Leigh Orf did all the post-processing (Sound Forge stuff).

Note: This is *not* the Betty Board source which has circulated before.
This source came from a different two-track master reel (made by the
folks filming the Sunshine Daydream movie) and is mixed differently.
Footnotes:
* First 57 seconds spliced from Betty Reel (Gans)
@ At about 6:50 two seconds spliced from Betty Reel (Orf)
$ Piano distortion starting at 5:05 is on original reel
(somewhat cleaned up by Orf)
& Stage Announcements can be eliminated to fit disc 3 on a 74 min CD-R

General Comments:

In all the circulating copies of this show I've heard, including
this one, small analog pops were scattered throughout. I believe
they originated at the soundboard or from one of the band member's
instruments. I edited out about 100 of these (hopefully all of them)
with the Sound Forge pencil tool. Click removal software was not smart
enough to find and fix these particular pops.

I noticed as I was listening to this show that it sounded kind of
flat/sour/sluggish. When I finally sat down to give it a thorough
listen, I noticed that there was a definite speed change where Betty
source entered the new source 57 seconds into Playin'. I determined by
using a handheld tuner and the spectrum analyzer of Sound Forge that
the Betty reel was in tune and that the new source was slow (primarily
tuning the show to where the band is tuning after Sugaree; I made Phil's
A3 tune to exactly 220 Hz). Happily, by "tuning" (speeding up) the new
source, everything sounds "right" and the transition from the Betty
source into this source in Playin' no longer had that audible speed
slowdown. I did a pitch shift of +19 cents on all of the show (except
the first 57 seconds of Playin') which effectively "played the original
reel a little faster". Shntool was used to fix the track boundaries
which were now off due to the pitch shift (all the wav files were
shorter).

I was able to make the piano overmodulation distortion starting about
five minutes into Sugar Magnolia slightly more palatable by pulling out
the high frequency components of the distortion using the Sound Forge
Click Removal algorithm and some hand editing. It still sounds bad, but
distortion of this nature is nearly impossible to fix.

Finally, some comments about how this show sounds different from the
Betty source. This reel was originated from the folks who were filming
the Sunshine Daydream movie. The movie source sounds "clearer"; there
is a better defined high end which leads to a less "veiled" sound than
the Betty source. Vocals and high-hat sound clearer and higher in the
mix. Bass is mixed lower; the low bass is especially thin on the movie
source, while the mid-bass is fine. The Betty source, to my ears, sounds
more "veiled" than the new source, and more bassy. The movie source
has more tape hiss than the Betty source, but it's hiss only from the
original reel. My guess is the Betty reels used some form of noise
reduction (Dolby A?) while the movie source did not. In my opinion, this
is the best sounding version of this show currently circulating.

Enjoy, and feel free to send comments my way. Thanks again to David Gans
and Adam Jerugim for making this possible.

Leigh Orf <orf@mailbag.com>
http://orf.cx

written March 10, 2001

Grateful Dead

OR

Veneta

Old Renaissance Faire Grounds

8/27/1972

3

SBD>?>CDR

Grateful Dead

OR

Veneta

Old Renaissance Fairgrounds

8/27/1972

3 (2x74min and 1x80min)

Master Betty reel > PCM > DAT > ZA2 > CD > EAC > SHN

Thanks to Jeff Tiedrich and David Hollister for this fine copy! Extraction and shortening by G.S. Hamilton http://db.etree.org/shninfo_detail.php?shnid=2199 David Hollister's comments: Set 3 has unknown # of PCM gens. Disc 3 is an 80 minute disc, but it can fit on a 74 if you want to leave off the post-show chatter. I cleaned up pops during Dark Star with SF pencil tool. There are still a couple of very small spots of what sounds like static during Dark Star, usually only in one channel. I didn't feel they were worth bothering with. Small clicks at 25:34, 26:35 in Dark Star. Lots of small zits and stuff all over the place, presumably from the PCM tape.

Grateful Dead

PA

Philadelphia

Spectrum

9/21/1972

4

SBD>?>CDR

Grateful Dead

CT

Waterbury

Palace Theater

9/23/1972

3

SBD>MR>Cass>DAT>CDR>EAC>SHN

Grateful Dead

CT

Waterbury

Palace Theater

9/24/1972

3

SBD>MR>CASS>DAT>CDR>EAC>SHN

Known Flaws: d1t08 cut at beggining of Tennessee Jed;
d2t01 cut during 15:00 minute mark of Playin' in the Band;

d3t05 I Know You Rider cuts at 4:02 (rest is missing).

These flaws exist on all known to be circulating soundoard sources of this rare show.

If someone has the even rarer aud., It would be nice to patch the rest of Rider in.



DAE(EAC) and SHN Encoding by Jeff M.

email: fy1220_jeffm@snet.net or lost_sailor1620@hotmail.com

cdrlist> http://db.etree.org

Grateful Dead

MO

St. Louis

Fox Theatre

10/17/1972

3

Source: MSR>C>DATs>CDRs>EAC>SHN

(missing Jack Straw)
(missing Friend Of The Devil)
(Missing Beat It On Down The Line)
(missing Ramble On Rose)

Grateful Dead

MO

St. Louis

Fox Theatre

10/18/1972

3

SBD>?>CDR

List of known flaws posted on original tree structure ca. 12/XX/99:Fellow Branches,

I have completed documenting as many of the errors as I could
hear on the recording. Here's what I found:

d1t01 Vocals break up into a "brittle" sound @ 5:43 (1st ending "anymore")

dropout at t01-t02 track change

d1t02 1:21 Pop followed by 2 seconds of static.

Another small pop at the t02-t03 track change

d1t03 static from 0:04 through 0:32

d1t04 Buzzing sound from 1:55 through 2:14
Buzzing sound from 3:02 through end of song (ends with last notes)

d1t05 Static from beginning of track to 0:22
Dropout @ 0:04

Dropout at t05-t06 track change

d1t06 Static starts at 6th downbeat (0:19), ends around 0:50

d1t07 Static starts at 0:17, continues through 1:20
Static starts again at 2:21
Cut @ 08:03

d2t01 Major static from 02:24 through 02:32

d2t02 Huge Dropout (missing info) 00:50-00:51

d2t05 Minor pop @ 10:27
14:55/56 minor click
15:36 minor click
Cut @ 20:52
Pop@ 21:30

d2t06 10:44 Major distortion
10:58 Major Distortion


I actually gave up trying to document all the static. The majority seems to be in the
1st set. It comes & goes, but a lot of it sounds like it might be some sort of
deterioration of the master as the static seems to coincide with the music.

BTW, David Gans was nice enough to check his discs against the list.
He said "All of the problems you mention exist on my copy", so it appears
that what we have is as good as it's gonna get.

Grateful Dead

CA

San Francisco

Winterland Arena

12/31/1972

3

FM Broadcast->Reel to Reel->DAT->CD-R

Grateful Dead

CA

Palo Alto

Roscoe Maples Pavilion, Stanford U.

2/9/1973

3

SBD>?>CDR

Grateful Dead

WI

Madison

Dane County Coliseum

2/15/1973

See Comments

MR > D Latvala Reels @ 3 3/4 ips > DBX Reels @ 7 1/2 ips > PCM > DAT > CD > SHN

Includes Jack Straw and Box Of Rain soundcheck. Casey Jones and OMSN both cut. The following layout is based on 2x74min plus 1x80min. I originally
received these with the encore on cd2. I like the sequential flow of
a show and so bumped cd3 to 80min to put the encores at the end while
keeping the DS>Eyes> China Doll intact. To make this 3x74, simply
move d3t07 and t08 to d2t10 and 11.

Grateful Dead

WI

Madison

Dane County Coliseum

2/15/1973

3

SBD>?>CDR

Grateful Dead

IL

Champaign-Urbana

Assembly Hall

2/21/1973

Grateful Dead

PA

Philadelphia

The Spectrum

3/24/1973

3

SBD>?>CDR

Grateful Dead

MD

Baltimore

Baltimore Civic Center

3/26/1973

4

MR>DAT>CD>EAC>SHN

Grateful Dead

CA

San Francisco

Kezar Stadium

5/26/1973

3

BBD>MR>PCM>DAT>CDR

missing encore (Casey Jones)

Grateful Dead

D.C.

Washington

RFK Stadium

6/9/1973

See Comments

See Comments

Source: SBD
Lineage: S:MR > DAT > CD > EAC > SHN

Promised Land, Half Step, and Sugar Mag are
S:MR > PCM > cassette > DAT > CD > EAC > SHN

Patch in Box of Rain (very small) from 2nd source

Extraction and SHN encoding by G.S. Hamilton
Thanks to David Hollister for this beautiful show!!
This show will fit onto 2 80 minute CDs + 1 standard 74 minute CD, or on 4 74 minute CDs.

Grateful Dead

D.C.

Washington

RFK Stadium

6/10/1973

4

S:MR (10" reels) > DAT > CDR > EAC > SHN

Known flaws: D1t2 (BIODTL) cut at the beginning D1t09 (The Race Is On): sounds like loose cord to board: 1:33, 1:34, 1:36, 1:44 D2t01 (Bird Song): very brief tape waver @ 2:44 D2t03 (Eyes) transient sound system glitch @ 5:06; subsecond dropout @ 6:54 D4t06 (GDTRFB): reel flip/splice @ 6:42, split second dropout @ 8:42, glitch @ 9:27 D4t07 (Drums): glitch @ 2:47

Grateful Dead

NY

Watkins Glen

Grand Prix Racecourse

7/27/1973

2

SBD/AUD>SHN

Franken-source!! Source info is a frickin' novel...see comments for 7/28 for full story

Grateful Dead

NY

Watkins Glen

Grand Prix Racecourse

7/28/1973

4

SBD/AUD>SHN

no regular info file (circualted with covers); 2 "history txts" below:

Subject: Watkins Story
Date: Thu, 13 Apr 2000 23:32:12 EDT
From: Nbw000@aol.com
To: dankstar@mediaone.net

Mike,

Here's one of the posts that covers a great deal of the tape details.

Noah

------------------------------------------------------------------------------
---------

Here's the story of the road to the Digital Watkins Glen Tree.

This was supposed to happen two years ago in conjunction with the
25th Anniversary Watkins Glen Analog Tree. I won't bore you with the
details, but the digital end never happened. A few months ago, I
had decided that I would finally have my AUD Analog seeds from the
Analog Tree transferred to DAT so that the digital world could
finally get it's hands on the tree that was run back in 1998. In a
wonderful cosmic twist of fate, on the very day that I put my
precious seed tapes in the mail to go to a trusted A>D person, I got
word that the a digital copy of the Master Soundboard Reels from
7/28/73 was going to be headed in my direction. Wow!

I had a few conversations with Dick Latvala when I was organizing the
25th Anniversary Tree and he had told me that the SBDMR was filled
with gremlins and glitches, and would never be suitable for official
release, but it did exist and he had listened to it. Most of his
friends had told him the show sucked (FOOLS!) so he didn't pay much
attention when he did listen to it. It seemed that the SBD was
destined to gather dust in the Vault for good. So be it. As it was,
we had put together a very enjoyable copy of the complete show from
AUD and FM sources and treed out what went on to change people's
minds about a show that was always thought to be a true low point in
1973. All the folklore-ish rumors about how bad they played, and how
without life the show was were put to rest. I still believe that the
bad rap given to 7/28/73 in the past stemmed from the atrocious
partial AUD that had circulated for years.

The SBD arrived and blew my mind. The main problem was that a few
songs were missing entirely from the copy. But that would be
overcome by the sources I used for the first Watkins Tree (more in a
moment). The gremlins and glitches consist mainly of occasional pops
or clicks over both dates and a static noise over much of the
recording on 7/28. It is at times a slight distraction, while at
other times barely audible. It really isn't that distracting from
the music at all. Just a little crackling here and there. However,
there is a portion of glitching that does get a bit rough. The worst
of it comes during the He's Gone>Truckin' where there are some severe
buzzes and grounding noises. These get pretty bad for sure. It
sounds like some cables are loose and a soundman is trying to rectify
the problem time and time again. But when you compare these SBD
problems during the He's Gone>Truckin' to the AUD used on the first
tree where we get to listen to the taper's buddy ponder his need to
go to the bathroom against never finding his way back to his spot in
the crowd during the same stretch of songs, I'd say it becomes a bit
of a toss up. The severe glitches clear up at about the six minute
mark of Truckin' and it's relatively smooth sailing thereafter.
This, coupled with a few cuts here and there within a few songs (like
a small chunk of vocals missing from Eyes Of The World), rounds out
most all that is wrong with the SBD. Also worth noting is that you
will discern some recording level discrepancies from tape source to
tape source. This was confirmed with the person that I had create
the complete show seeds as unavoidable when he compiled the masters.
He dealt with them as best he could (Soundforge, etc..)

As for the songs that were missing entirely from the copy I received,
I will give you all the information I have. I contacted the person
who "held" the SBD out of the Vault to find out why these songs were
missing. He informed me that they were indeed on the MR, but
suffered from tremendous tape speed problem. So bad in fact, that he
opted not to transfer them to the copy that made its way into
circulation. This lead me to uncover and at the same time solve a
real mystery. The facts now seem to indicate that what was used on
the first tree as SBD, was in fact from the fabled FM broadcast of
the whole show.

As any of you who have copies of the show treed in 1998 know, the
first 40 minutes of the show came from a SBD/5 seed. Within this
first 40 minutes are two of the songs that could not be transferred
from the SBDMR due to speed troubles: Here Comes Sunshine and Looks
Like Rain. Neither of these songs exhibit any pitch problems at all,
and further, they exhibit none of the static noise that prevails over
what we have from the SBDMR. Thus, I can only surmise that this
chunk that was used on the first tree actually emanated from the
allusive FM broadcast made on 7/28/73; the tape for which we scoured
many a local radio station in search of, all in vain.

When I had in my hands all five of the different source tapes for the
first tree back in the summer of 1998, I transferred each one to DAT
with the help of a DAT taper buddy of mine. We made two complete DAT
copies of everything involved. One set was sent to the person who
was to assemble and edit together the Digital Tree, the other was
just packed away at my DAT friend's house. It was this second set of
DATs that I was able to pull out for use on this tree. Since no
fancy splicing and editing was going to be needed for this new tree,
we were able to go right to these DATs to fill the gaps in the SBDMR.
So everything used here that did not come from the SBDMR is actually
one generation cleaner that even the Seed tapes I made to run the old
tree. It should be noted that the Encores were not to be found on
the MR at all. In fact, E2 occurred some nine hours after the Dead's
show that day, so it makes sense that the Reels were not still
sitting there ready to roll.

The job of editing all of this together fell to a person who shall
remain nameless, but he needs to be thanked none the less. He shares
my incredibly overbearing sense of detail when it comes to doing this
sort of thing, and since I personally am not set up to do anything
digitally myself, I needed someone like that in my camp. First off,
his cross fade addition of the Bill Graham intro into Bertha sounds
even better than the one I did on the Analog Tree. I almost wept
tears of joy when I first got the discs back from him, and that was
just in the first thirty seconds of the show. I didn't even think
he'd go that extra mile with the discs, but he did. Every track ID
is pure perfection. This guy is nothing short of the best DAT>CD
person I've ever encountered. You will all be very pleased.

That pretty well rounds out the story of how this tree came to be.
If I think of more tidbits I'll toss them out to you all. Thanks for
listening.

Noah

--
Subject: Watkins Story pt2
Date: Thu, 13 Apr 2000 23:34:57 EDT
From: Nbw000@aol.com
To: dankstar@mediaone.net

Here is another post I made that gave the history of the first tree, and all
that went into the birth of this idea...

Noah

-------------------------------------------------------------

From: Noah Weiner <nbw000@aol.com>
Date: Thu Mar 9, 2000 11:58pm
Subject: More of the Watkins Tree Story

I went looking through old e-mails and I found a copy of a post I
sent to the Compendium mail list after being approached for more info
on the tapes used for the first tree.

I just copied the whole thing. I didn't feel like editing or
updating any of it. This will confirm that I am all and more of the
overly compulsive taper freak that many of you know me to be. After
reading it, I can honestly say I sound a bit "obsessed."

This comes from around August 1998:

------------------------------------------------

A member or two of the Compendium Mail List expressed some interest
in just how Gordon Gullahorn and I managed to get the tapes together
for the recent Watkins 25th Anniversary Tree. So, if you'll pardon a
bit of rambling on, here it is.

As many of you know, this show has only circulated in really bad Aud
quality. The tapes are always incomplete, and of unknown generation.
They have this horrendous wow and flutter all over the best parts of
set two, and really leave the listener saying "Is that a good show
under there? Well, I'll never know because I can't bear to listen to
it again!" If you have a copy, you know what I mean. If you don't
have a copy, you don't want one. Anyway, there was this discussion
going on at rmgd about this "rare gem" of a show back in February, I
think (I guess some people *had* listened again). I piped in because
I had just come across this show on some one's list who had the Aud
listed as a 2nd gen. I had NEVER seen a known gen at all, let alone
2nd. So having set up the trade, I told the folks in the thread at
rmgd that I'd be happy to spin it for anyone if it was any good once
I got it. Another person in the thread, Gordon Gullahorn, and I
started talking about doing a tree if it was really good. After all,
the 25th Anniversary was coming up, and the show hardly circulated.
It would be fun if the tapes merited doing a tree.

A little time passed and the tapes came and, yes, they were good.
Let's put a few qualifiers on this "good" here. The taper, at that
time still a mystery, was certainly near the stage, lending a nice
presence to the music. It wasn't the best 1973 Aud I had ever
gotten, but I was perfectly happy to give these tapes a fair amount
of latitude given the circumstances surrounding the recording
conditions, size of the crowd, and what else there was circulating on
tape from the show. Even with the various audience nuances -- every
kind you can think of from the guy yelling HELLO into the mic at the
start of Eyes, to the off time clapper and the off key singer -- the
tapes still left my jaw on the floor because the show was so
terrific, and when the band was jamming the crowd into silence, the
sound quality was truly quite fine. Gordon and I set about trying to
track up the gen line to the original taper, as well as dig up the
rest of the show. The Aud/3 I had was not the whole show, only the
end of set one, and most of set two. The first problem was that Andy
(the guy with the Aud/2) couldn't remember who he got the show from.
Gordon and I started posting around, but it felt like looking for a
needle in a haystack. After many fruitless posts at rmgd, DNC, etc.,
I was prodding Andy's memory some more and he said that he remembered
getting the show from the taper himself and that he thinks he met
this guy in one of the AOL Dead chat rooms. He said the guy was very
friendly and would probably come right out of the wood work for us if
we asked around. Well, the thought of sticking my head in AOL's 710
Ashbury chat room like some private detective held little charm for
me. For every good soul in there you have fifteen or twenty people
that make the experience more like drinking a warm beer at a high
school party. We seemed to be destined to come up empty. We also
found that more often than not, any time we thought we had a good
lead, it would fizzle away, or get off track. Gordon and I agreed
that there was some strange mystique shrouding this show.

I can't really recall just how the idea struck me, but I started
putting 2 and 2 and probably 7 together and thought it could be this
guy Bill Degen who I have been trading with for well over a year. He
was an East Coast taper at the time, and I had gotten a few of his
shows in the past. he did have an AOL address and the friendly
personality. He fit the bill (no pun intended). Bill couldn't
remember this Andy guy, but he identified all the unique crowd noises
on the tape as coming from the tapes he made at the show. Bingo!
And once I got his personal tapes (his original masters burned in a
house fire back in the 80's so these are copies he personally made
some time back, bless him!), the stuff sounded even better than my
copy that was 2 gens removed. So everything that goes MC>R>seed and
MC>C>seed is from him. he also provided the Mountain Jam and JBG
encore (unknown, low gen SBD).

Now Gordon and I were cooking. But because Bills tape recorder
suffered from a faulty battery cable, we were still short most all of
set one. Sure we had the crappy Audience that goes around, but that
wasn't worthy of comprising almost 40% or the treed tapes. We
thought maybe we'd just tree the stuff from Bill and leave it at
that. Then Gordon uncovered a SBD/6 copy of the first 40mins of the
show. Thanks to some still functioning brain cells, or at least good
note taking on Jeff Tiedrich's part, we were able to track another
generation off that tape. Eric Doherty happily sent me his SBD/5
copy for use on the tree. That was as far up the generational line
we could climb before the source of the next gen up had been
forgotten. We think this might be a bit of the fabled FM broadcast
that, despite many an e-mail and inquiry on Gordon's part to East
Coast radio stations, never surfaced for us. On the subject of the
SBD, I've had a few e-mail exchanges with Dick Latvala on the subject
of the tapes of 7/28/73 in the Vault since starting the tree last
week. He said he pulled out the reels some six months back, and due
to some technical problems with the tapes, they left him with a less
than glorious impression of the show itself. Though he said he's
willing to give them another listen, I wouldn't think they'd be
making it out of the Vault any time soon. The tunes that were not
seeded from Bill's or Eric's tapes come from the three or so copies
of the show Gordon and I kept trading for while looking for a good
copy. But having listened to them all to find the best one, I can
say for sure that all of these come from the same original, crappy
tapes.

The assembly of the seeds was a bear. And I don't envy Gordon's task
of doing it all over with his DATs. As it happened we decided to do
an Analog Only and a DAT Only tree for the show. Work, life and the
like kept us from meeting the actual anniversary of the show with
both trees. Since I had all the masters here, I thought it would be
nice to do a large tree that had no DATing in the generational line.
Kind of unique these days. Gordon's DAT tree will get rolling soon.
There are some half a dozen or more spots where Bills tapes were
missing things (the start of Big River, end of IKYR, the second verse
of Playin' etc, etc...). So I did a LOT of editing and pitch
adjustment. It took about three full days worth of time to get them
just right. I've got an old Nak deck that makes completely
undetectable splices, so it became a challenge to do it all well,
since no one would hear the edits, just the quality *of* the edits.
Now I didn't kill myself doing it. Some of the cuts are not
perfection on earth, but I'm just crazy enough to have done them over
and over enough to get everyone who listens to say "Ahhhhh...." And
when you start to think that each edit represents a point on the
originals where there was a bummer of a cut, you can't help but
smile. The Analog tree ended up with over 180 people on it, and most
of the ten first gen from seed tapes have been sent off already. So
if your on the tree, the show's a-comin'. And if you're not, it
shouldn't be too hard to track down in a few weeks time. Once the
DAT tree happens, it will spread all the more.

Here is how the show went down onto the seed tapes. The gens listed
are that of the seeds themselves:

Tape One:
Bertha thru LL Rain - sbd/6
Jack Straw, Deal - unknown aud
Row Jimmy, Playin' - master cassette>reel>cassette

Side A:
Bill Graham intro
Bertha
Beat It On Down The Line
Brown Eyed Women
Mexicali Blues
Box of Rain
Here Comes Sunshine
Looks Like Rain

(Bill Graham intro and start of Bertha
spliced from aud/?)

Side B:
Row Jimmy
Jack Straw
Deal
Playin' in the Band

(splice in Row Jimmy after
opening bars. First verse is missing.
Second verse thru third chorus of Playin'
spliced from aud/?.)

Tape Two:
Around, Lucy - unknown aud
Big River thru Sugar Mag - aud master cassette>cassette2

Side A:
Around and Around
Loose Lucy
Big River
He's Gone>
Truckin'>
Nobody's Jam>
El Paso

(start of Big River spliced
from aud/?)

Side B:
China Cat Sunflower>
I Know You Rider
Stella Blue
Eyes of the World>
Sugar Magnolia

(end of IKYR spliced
from aud/?)

Tape Three:
Encore One - aud master cassette>cassette2
Encore Two - unknown sbd
07/27/73 - aud master cassette>reel>cassette

Side A:
Encore One:
Sing Me Back Home(cut)
Encore Two:
Not Fade Away
Mountain Jam
Johnny Be Goode

(Encore Two with Allman Brothers Band
and The Band)

Side B:
Filler: 07/27/73 Aud
Watkins Glen Sound Check
Jam>
Wharf Rat
Me and My Uncle

(Jam is cut when taper is busted by
a roadie. Aud picks up again at the
start at Wharf Rat. The missing portion
is supplied by SBD>D>cass>seed)

Thanks for listening,

Noah Weiner (nbw000@a...)

Grateful Dead

NY

Uniondale

Nassau Veterans Memorial Coliseum

9/7/1973

3

SBD>?>DAT>CDR

Crisp, bright, good levels, but some minor hiss; still very listenable

Grateful Dead

NY

Uniondale

Nassau Veterans Memorial Coliseum

9/8/1973

3

SBD>?>DAT>CDR

Crisp, bright, good levels, but some minor hiss; still very listenable

Grateful Dead

PA

Philadelphia

The Spectrum

9/21/1973

3

SBD>RR>PCM>DAT>CD

Missing..
Casey Jones
Encore
One More Saturday Night. Flaws:
d1t4 "Me & My Uncle" dropout @ 0:54
d1t6 "Sugaree" cut @ 3:22
d1t7 "Big River" beginning cut
d1t11 "Loose Lucy " dropout @ 4:27
d2t2 "Playing In The Band" cut @ 13:55 - 14:06
d2t3 "Let Me Sing Your Blues Away" cut @ 0:21 - 0:25
d3t4 "The Other One" cut @ 2:25 - 2:30

Grateful Dead

CA

San Francisco

Winterland Arena

11/11/1973

3

Source: Disks 1-2 MSR>Cass>Cass>DATs>CDRs>EAC>SHN
Disk 3 MSR>Cass>DATs>CDRs>EAC>SHN

Notes: continuity not preserved (specifically: [Dark Star>Eyes>China Doll Jam on disk3] )

Grateful Dead

CO

Denver

Denver Coliseum

11/20/1973

3

sdb>reel master>cassette>dat>cdr

Grateful Dead

CO

Denver

Denver Coliseum

11/21/1973

3

Unknown, but probably: MR>DAT>CASS>DAT>CDR

Filler on disc 3: 2-22-73- Box Of Rain, Playin'; 2-21-73- China>Rider, Jack Straw

Grateful Dead

AZ

Tempe

Feyline Field

11/25/1973

3

MSR>Cass.>DATs>CDRs>EAC>SHN

Known flaws:

Promised 3.14 rt chan ?
China 3.55 Splice?
r Jimmy 6:37-8 Static
Playin' 7.29 splice
WRSPre :02 pop rt chan
"" 1:23 "" "" ""
LTG 0:01 pop
"" 6.34 reel change
SMAG 8.14 click

Grateful Dead

FL

Tampa

Curtis Hixon Convention Hall

12/18/1973

3

SBD>?>CDR

Grateful Dead

FL

Tampa

Curtis Hixon Convention Hall

12/19/1973

1

SBDMR>DAT>Sonic Solutions>CD

Dick's Picks 1 leftovers…

Grateful Dead

CA

San Francisco

Winterland Arena

2/23/1974

3

SBD>Reel>PCM>DAT>CD>EAC>SHN

Notes:Missing Big River, Ramble On Rose, Me And My Uncle, Casey Jones

Grateful Dead

CA

San Francisco

Winterland Arena

2/23/1974

3

SBD>Reel>PCM>DAT>CD>EAC>SHN

Mastered by Jay Serafin
Extraction and SHN encoding by G.S. Hamilton
Thanks to Seth Kaplan for providing this excellent
copy of this show! Notes:
Missing Big River, Ramble On Rose, Me And
My Uncle, Casey Jones

Grateful Dead

CA

San Francisco

Winterland

2/24/1974

4

SBDMR>DAT>CD

Grateful Dead

CA

Daly City

Cow Palace

3/23/1974

3

SBD>?>CDR

Grateful Dead

MT

Misoula

Adams Field House

5/14/1974

3

MSR>cassette>DAT>CD-R>TAE>shn

Note: There is a splice in China Doll

Grateful Dead

WA

Seattle

Edmundson Pavilion

5/21/1974

3

See Comments

Lineage: S:MR > cassette > DAT > CD > EAC > SHN,
except Playing In The Band, which is
S:MR > DAT > CD > EAC > SHN, with 26 seconds of aud patched in.

Grateful Dead

CA

Santa Barbara

Campus Stadium, U.C.S.B.

5/25/1974

3

MSR > Dick Latvala's cass > DAT > mastered to CD-R on an HHB CDR-850 > .shn; via J. Miller, A. Roux; D. Hollister reports problems on USB track

Grateful Dead

KY

Louisville

Freedom Hall

6/18/1974

3

S:MR>1 cass>DAT>ZA2>SHN

Greetings one and all!

Please enjoy this tasty tidbit from Louisville, KY June 18, 1974 courtesy of some anonymous sources, as well as the collective efforts of Darrin Sacks and David Hollister

Here's what we have...Lineage: S:MR>1 cass>DAT>ZA2>SHN [revised from original info file]


This version sounds nothing like the previously-circulating "sbd>reel>reel>dat" version and represents a MAJOR upgrade.

The music actually comes to us from two different tapes with very similar qualities. However, one tape had about the first 1 minute and 40 seconds missing on Promised Land, so I spliced it in from the other tape. The other tape had some other problems, not to mention a good portion of the between song banter cut out, so needless to say, we used the good tape for that.

Grateful Dead

KY

Louisville

Freedom Hall

6/18/1974

3

SBD>MR>CASS>DAT>CDR

Touch of reel drag on WRS Prelude

Grateful Dead

FL

Miami

Jai-Alai Fronton

6/22/1974

3

SBDMR>CASS>DAT>DAT>CD

Grateful Dead

CA

Fresno

Selland Arena

7/19/1974

1

MR>DAT>CDR

Partial 2nd set…

Grateful Dead

CT

Hartford

Dillon Stadium

7/31/1974

4

SBDMR>DATx>CD>DAT>CD>EAC>SHN

Known Anomalies:
1. Beginning of Scarlet is clipped -- slight bit of diginoise too
2. Reel flip in the middle of Row Jimmy
3. Warble/ Mixing problems in Jack Straw
4 Cut in the beginning of WRS Prelude

Grateful Dead

PA

Philadelphia

Civic Convention Hall Auditorium

8/4/1974

3

MSR>DATs>CDRs>EAC>SHN

Notes: Small aud patches in PITB (14:28-14:41) and LIG (16:20-16:35) and the first few seconds of Sugar Magnolia. Thanks to Bob Fishman for the Source Disk, EAC/SHN by dnsacks@usa.net seeded to etree 9/24/00

Grateful Dead

PA

Philadelphia

Spectrum

8/5/1974

3

SBD>?>CDR

All through Stella Blue which cuts @ about 2:30 min.; Phil & Ned is missing; 6-30-74 filler on disc 3

Grateful Dead

NJ

Jersey City

Roosevelt Stadium

8/6/1974

4

MR>DAT>CD>Sonic Solutions>CD Circulation

Notes from SHN's I received: shn:

Plextor SCSI 40x Reader > EAC

As of Sept 00, this copy is just entering circulation. For more info on the source of this copy, read Jim Powell's comments below.

.shn and .md5 created by Mike Hall (myko@well.com)

>From Jim Powell:

"OK, I just got the master of the DeadLists Edition of Roosevelt
Stadium, Jersey City 8/6/74: a digital copy of the master SBD reels
with the 20 second flip cut in Scarlet Begonias patched with an
excellent AUD master. This is the entire show including Seastones, in
perfect condition, on 4 CDs.

...

We owe thanks especially to Hugh Barroll, who passed along CDs of a
digital copy of the master SBD; to Ihor Slabicky, who supplied a copy of
his AUD master of the show; and to Dave Greenberg, who used Soundforge
to patch the tape flip in Scarlet Begonias on the SBD and produce our
masters. Noah Weiner also helped with the project, forwarding a copy of
Barry Glassberg's AUD master."

and later Jim reiterated:

"The lineage of this copy of 8/6/74 is MR > DAT > CDs. It is the
entire show, uncut, including Seastones (and the encore). The flip chop
in Scarlet is expertly patched with excellent AUD. It very markedly
upgrades the copy that came around a year or so ago, as well as all
other circulating copies. Until and unless they release this as a Dick's
Picks, and do as good or better a job than we have with the patch, this
is the ultimate copy of this alltime great show, hands down, no shit."

**********

FURTHUR: More work was done on this by David Gans using Sonic Solutions. A digital copy of Ihor Slabicky's tape and the cd's from Dave Greenberg were used to further patch the reel flips in Eyes of the World and Truckin'. David also edited the reel starts and stops between songs. Nothing that was said was removed. What we have here is the *FINAL* copy of this, my first show, to be circulated!

These .shn's have been generated from the discs David Gans made. MD5's have been generated for both the .wav and .shn files. I, before sending Greenbergs disks to Gans, retracked the original Disk 2 as there were 2 leadin tracks that were orphaned from the main song track.

Jim said it first, " .. this is the ultimate copy of this alltime great show, hands down, no shit."

Grateful Dead

England

London

Alexandria Palace

9/11/1974

4

See Comments

Source: SBD
Lineage: Reel master > DAT > CDR > EAC > SHN
Extraction and .shn encoding by Seth Kaplan (Sdk022769@aol.com)
Slight retracking of discs 2 and 3 (CoolEdit/CDWav) and
re-shnning by G.S. Hamilton
Thanks Seth for this beautiful copy! Notes:
Discs 2 and 4 are short discs in order to preserve the original playing
order of the show.

D1t01 (Scarlet Begonias): Major sound system/mix problems 2:06-3:10
D4t04 (Sugar Mag): cuts at Sunshine Daydream

Grateful Dead

CA

San Francisco

Winterland Arena

10/16/1974

4

SBD:MR>R>C>D>CD>EAC>SHN OR CD For Aud patches * - Aud master>Rx2>C>D>CD

Known flaws - reel flip - 1:02 disc three Eyes cut at 6:30 and 11:08 UJB cut at 4:11 cut at ~19:06 in playin' - drop out removed; Aud patches for Bertha, Deal /, Jack Straw; Deal//, 10-22-67 filler on disc 4

Grateful Dead

CA

San Francisco

Winterland

10/19/1974

3

Rough SBD mixes(see comments for more info)>Cassette>Reel-to-Reel*>?>DAT@48k>za2>@44.1k>SoundForge & CD Architect>CDR>EAC>SHN

Known Flaws:
Track 1: 2:59, 3:02, 4:47-4:49, 5:06-5:16
Track 2: 0:03-0:34
Track 3: 3:24
Track 5: 0:09-0:12, 0:19-0:22, 3:44
Track 6: 0:09, 1:18, 3:41-3:43
Track 7: 0:04-0:27, 1:06-1:14, 2:31-2:35, 3:01-3:16, 3:45-3:53, 4:42-5:01
Track 8: 5:50
Track 9: 2:04-2:09, 3:10-3:17, 3:42-3:54, 8:19 info from original tree admin's website: Here's some emails I received after requesting information on my source tapes.

--------------------------------------------------------------------------------

From: Jim Wise

Date: Mon, 06 Mar 2000 19:37:03 -0600

Subject: 10/74 winterland sound

can we please get this settled?

the audience - ish sound on "some" of the circulating recordings from this run are the result of an ambient "room" mic that was mixed into the feed intentionally as an experiment. the ultimate goal was to "liven up" the recording, which was anticipated to be released. too bad all we officially got out of the whole effort was "steal your face".

--------------------------------------------------------------------------------

From: Rob Bertrando

Date: Tue, 14 Mar 2000 17:17:22 -0800

Subject: Oct 1974 Winterland AUDs

The best sounding AUDs of this run (all 5 nights) were made by Charles Conner (sp?), using a Sony ECM-22P into a highly modified Sony mono portable. There is occasional wow/flutter, but the frequency response is great, and the hiss low.

I started the distribution of the "audiency"-sounding SBDs of the last three nights, in late 1976. They came to me on cassette, from Jerry Wexler's (of Atlantic Records fame) son or nephew, I forget the exact connection. I and about 4 others copied them to reel at that time, and copies have flowed since. Much more recently, SBDs of the 16th and 17th have surfaced, without the audience mix. I don't know if anyone has similar mixes of the last three nights for trade or listening.

-------------------------------------------------------------------------------

from Bear's website:

Steal Your Face, (Arista)/Grateful Dead Records (GDM) 1976.

"This is one that I would just as soon forget. The master tapes were a disaster of epic proportions, requiring a complete over dubbing of all the vocals and many of the instrumental tracks. I had absolutely nothing to do with the recording of the master tapes, and was called in to try to "fix" it.

Phil Lesh and I were given only 18 days to rebuild this "titanic". Fact is, of course, no-one could make a silk purse out of this pig's ear."

---------------------------------

Bear's email answer to me:

There was a film crew running around there during the show..and there may have been a lot of rough audio mixes floating around, connected to the cameras, etc. from the onstage microphones, and even some other feeds, one of which may have been taken away and misrepresented as a "soundboard".

The fact is, there was NO soundboard in the design of the Wall of Sound. The musicians made their own adjustments on stage to their own feeds to the various amplifiers and speaker stacks, so there can be no soundboard mix, it didn't exist, there was no soundman at that show doing any mixing.

I asked him, "is there some truth to the 'phil's stage mic's' source then"?

Bear replied, "They would have had only the bass guitar, no other instruments, no vocals."

--------------------------------------------------------------------------- ; *most likely by Rob Bertrando in 1976

Grateful Dead

CA

San Francisco

Winterland

10/20/1974

3 (or 4 w/ Phil & Ned (A.K.A. Seastones)

Rough SBD mixes(see comments for more info)>Cassette>Reel-to-Reel*>?>DAT@48k>za2>@44.1k>SoundForge & CD Architect>CDR>EAC>SHN

Grateful Dead

CA

San Francisco

Kezar Stadium

3/23/1975

1

Pre-Fm SBD?>?>CDR

Part of mix disc containing material from 8-23-68 mastered by Dan Healy for "Two From The Vault" but never used.

Grateful Dead

CA

San Francisco

Winterland

6/17/1975

2

AUD>?>DAT>CDR

I'm kinda a SBD snob, but this is a very nice AUD recording. A must have if only for it's historical significance

Grateful Dead

CA

San Francisco

Lindley Meadows Golden Gate Park

9/28/1975

2

source:sbd>reel(mic mix)>DAT>CD>?>SHN

Grateful Dead

MA

Boston

Boston Music Hall

6/11/1976

3

SBD>?>SHN

Liberated bootleg, sounds like it came from the master reel; splices In Scarlet Begonias, The
Promised Landand Stella Blue And The beginning Of Johnny B. Goode is clipped

Grateful Dead

NY

New York

Beacon Theatre

6/15/1976

3

7" 2-track BBD reel @ 7.5 ips > PCM501ES @ 44.055 kHz
PCM501ES analog out > Fostex D5 @ 48 kHz

Grateful Dead

IL

Chicago

Auditorium Theatre

6/29/1976

3

7" two track BBD reel @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out >
Fostex D5 @ 48 kHz > DAT > ZA2 > CDR > EAC > SHN

Grateful Dead

IL

Chicago

Auditorium Theatre

6/29/1976

3

7" two track BBD reel @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out >
Fostex D5 @ 48 kHz > DAT > ZA2 > CDR > EAC > SHN

Grateful Dead

CA

San Francisco

Orpheum Theater

7/18/1976

3

sbd>mr>pcm>dat>cdr

Grateful Dead

CA

San Bernardino

Swing Auditorium

2/26/1977

3

SBD>?>CDR

Grateful Dead

CA

San Francisco

Winterland Arena

3/18/1977

3

SBDMR @ 7.5 ips>DAT>CD>EAC>SHN

Audience recording is the source for Promised, Mississippi, and Ship Of Fools. Source:Master (J. Bertrando Sony ECM-270/TC-152SD)>Cassette>DAT>CD>EAC>SHN; filler: 6-24-73 Source: MSBDR > ? > CD > EAC > SHN

Grateful Dead

CA

San Francisco

Winterland Arena

3/19/1977

3

SBD>MR>DAT>DAT>Sonic Solutions>CDR

David Gans seed, reel glitch in Terrapin for approx 1 Min.

Grateful Dead

MA

Springfield

Springfield Civic Center

4/23/1977

3

SBD->MR->DAT->CD

d3t3 patched with audience source (FOB Sony ECM99A mics->Sony TC152->DAT->CD via D.Sacks)to cover missing SBD source due to reel flip.
No other known flaws.
Discs #1 and #2 have tuning tracks between songs.

Special thanks to Sam Esla for providing the seed.
Enjoy!

Aud patch & CD->EAC->SHN conversion & upload by AJ - a2k@pacbell.net - September 26th 2000.

Grateful Dead

NY

New York

The Palladium

5/4/1977

2X80 min.

See Comments

DISK1 (SBD>CASSM?R?>DAT; except for BEW which is MRSBD>CDR; BEW came from the Around the Fire soundtrack)
DISK2 (MASTER REEL>DAT>DAT>CD, from David Gans)

Grateful Dead

NY

New York

The Palladium

5/4/1977

1

SB>?>Gans CD>CD>cut&paste in CoolEditPro>CDWAV>.wav & .SHN

Set II only

Grateful Dead

CT

New Haven

Veterans Memorial Coliseum

5/5/1977

3

BBD>MR>PCM>DAT>CDR

Known master reel flaw: Scarlet fades in, but happens *very* early in the song, still very listenable; extremely minor defect IMHO

Grateful Dead

MA

Boston

Boston Garden

5/7/1977

3

SBD -> Betty Reels ->PCM -> DAT -> Digitally read in on SGI -> SHN

Missing encore (U.S. Blues)

Grateful Dead

MA

Boston

Boston Garden

5/7/1977

3

7" two track BBD reel w/ DBX-1 @ 7 1/2 ips > PCM501ES @ 44.055 kHz>PCM501ES analog out > DBX-1 decoder > analog in PCM501ES>PCM501ES analog out > Fostex D5 @ 48 kHz

Missing encore

Grateful Dead

NY

Ithaca

Barton Hall, Cornell U.

5/8/1977

3

7" two track BBD reel encoded w/ DBX-1 noise reduction @ 7 1/2 ips > Sony PCM501ES @ 44.055 kHz > Sony PCM501ES analog out > DBX-1 decoder > analog in PCM501ES > PCM501ES analog out > Fostex D5 @ 48 kHz > ZA2 > CD

21 second AUD splice at the beginning of Minglewood. 26 second AUD splice at the end of Lazy Lightning; Filler - 05/07/77 Master Reel->PCM->DAT->CDR Terrapin (10.38) 7. Samson & Delilah (7.18) 8 Friend Of The Devil (8.12)

Grateful Dead

NY

Ithaca

Barton Hall, Cornell U.

5/8/1977

3

SBD:MR > R > R > DAT > CD > DAT > CD

Minglewood fades in, cut between LL and Supplication.

Grateful Dead

NY

Ithaca

Barton Hall

5/8/1977

3

See Comments

Betty Board Portion -- Master 7" Nagra reels 1/2 track @ 7.5ips>Sony PCM 501. Playback on Sony PCM 701>DAT (Digital Transfer) -- Rob Eaton DBX Decoding (Spring '99) Playback on Panasonic 4100 DAT>DB 924 D/A>Dolby 361's w/dbx K9-22 Cards>DB 124 A/D>Neve Capricorn (Digital mixing console)>DB 300S>Panasonic 4100 DAT>DAT>Digi Coax Cable>Tascam CD-RW 700>CDR (x1)>SHN (Rob Eaton remaster)

Audience Portion -- Steve Maizner's Sony ECM-990>Sony TC-152 aud master>First Gen Reel>played directly to hard drive. The excellent aud splices were normalized and patched using ProTools by Karen Hicks Culled from a May 6, 1999 post by Rob Eaton to dnc --

I recently re-decoded 5/5/77 and 5/8/77. I went into Right Track Studios in NYC (my home base studio ) set up in studio B (which is the premier state of the art Digital Music Studio in world). I had clean dat copies (provided by Tim Daulton) that were NOT decoded. I set up a chain consisting of: Panasonic Sv4100 AES out-->DB Technologies 924AD (24bit/96k capability)-->Dolby 361 Modules w/DBX K9-22 cards-->Neve Capricorn 32bit point processing/full 24bit Digital Console-->DB Technologies 122s 24bit/16bit conversion and 44.1k/48k sample rate conversion-->Panasonic Sv4100 Dat AES in. This is State of the Art Tchnology, getting as much of the music that was on the tapes as possible. The thing about DBX that nobody else got is that in order to decode it properly the volume into the decoder has to be exact, otherwise the tapes can be to bass heavy or to bright and compressed. These tapes are absoultly the best possible reproductions of the dig tapes made from the masters (I only wish I had the actual reels so I could do a proper azimuth adjustment on them).

Grateful Dead

NY

Buffalo

War Memorial Auditorium

5/9/1977

3

7" two track BBD reel w/ DBX-1 @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > DBX-1 decoder > analog in PCM501ES
PCM501ES analog out > Fostex D5 @ 48 kHz

Known master reel flaw in NFA (reel change?)

Grateful Dead

AL

Tuscaloosa

Memorial Coliseum

5/17/1977

3

SBD>MR 7" (Baked)>DAT>Cass>DAT>CD

From .txt file that accompanied my SHN's:Seeded by Brian Leonard (peyote@mindspring.com).
This is the best copy of this show in circulation to my knowledge. I recieved it on disc
and EAC'd it myself. Thanks to Andy Singer for hookin' me up with this one that had been
on my wishlist for years!!

Notes:
Tuning pauses have been shortened in some cases
Very very slight hiss
Encore (Sugar Mags) is missing, so if you have a good one from '77...!

Grateful Dead

FL

Lakeland

Civic Center Arena

5/21/1977

3

SBD>?>CDR

Sounds great. Solid show.

Grateful Dead

VA

Richmond

The Mosque

5/25/1977

3

Btybd/MR>RR>PCM>DAT>CD

Grateful Dead

MD

Baltimore

Baltimore Civic Center

5/26/1977

3

SBD>Master Reel (7", 7.5ips 1/2 track)>DATx>CDR>EAC>SHNv2

DAT to CDR transfer done with ZA2 soundcard; notes/flaws:
Comments: The material missing from the Soundboard source during Estimated
and Around & Around due to master reel flips was spliced in by Scott Clugston
from his copy of the Jerry Moore-recorded Master Audience Cassette:
Sony ECM-33p mics > Sony TC-158 > DAT source.

Specifically, the audience source supplies patches in "Estimated Prophet"
(d3t02) from 0:48 thru 1:10, as well as in "Around & Around" (d3t06) from
2:39 thru 3:07.

Additionally, Scott smoothed out the gaps/noise caused by the master reels
being turned off/on in between songs and removed a handful of minor "pops",
"ticks" and "clicks" that were present between songs.

Finally, several versions of this show simultaneously entered circulation in
early February, 2001. This copy is derived from the version that was
initially circulated by aoxoa and shn'ed from aoxoa's master cds by direwolf.
As initially circulated, this version lacked the audience splices and the
reel pause edits. The aud splices were added to the extracted shns and the
between -song reel pauses, "pops", "ticks" and "clicks" were removed from the
extracted shns using cooledit pro, and the shns were then re-split using cdwav. The integrity of the sector boundaries was confirmed using shntool.

The other version, circulated by David Gans, was supposedly derived from the
aoxoa-sourced dat and was not used for this distribution because a) it was
supposedly subject to digital equalization and b) the missing material caused
by the reel flips on the Gans-seeded version were patched with soundboard
recordings from other May, 1977 performances.

Seeded to Etree on 2/22/2001 by Darrin (dnsacks@usa.net)

HUGE thanks to aoxoa, Scott Clugston, and direwolf for their
considerable efforts to get this GREAT show into circulation in
all of its glory. ENJOY!

Grateful Dead

CA

San Francisco

Winterland Arena

6/7/1977

3

Grateful Dead

CA

San Francisco

Winterland Arena

6/9/1977

3

Master Reels>PCM>DAT>Delta DiO 2496>Sound Forge 4.5>CDWAV>SHN

Note: The master tapes have crowd noise cut between songs, no AUD splices were done at this time and considering the venue, may not be available in the future. There are slight dropouts in Saint Stephen, Sugar Magnolia and One More Saturday Night.

Grateful Dead

NJ

Englishtown

Raceway Park

9/3/1977

3

SBD>?>CDR

all SBD *except* for Terrapin encore which is from AUD

Grateful Dead

OR

Portland

Paramount Theater

10/1/1977

2

SBD>7" two track BBD reel w/ DBX-1 @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > DBX-1 decoder > analog in PCM501ES PCM501ES analog out > Fostex D5 @ 48 kHz

Promised Land is cut on either end; TLEO cuts in; Estimated has some mic distortion for roughly 1.5 min.

Grateful Dead

OR

Portland

Paramount Theater

10/2/1977

3

SBD >7" two track Master Betty Reels @ 7.5 IPS > PCM501ES analog out >DBX type I decoder > analog in PCM501ES analog out > PCM501ES analog out > Fostex D5 DAT at 48 kHz>CDR

Casey Jones has brief low-level crackle possibly due to a bad microphone; Wharf Rat has a thirty-second section of analog tape damage leading to a cut during the song. There is an illegal bootleg available of this date that apparently has no cut in Wharf Rat, but the cut has been edited out and the song is about 30 seconds shorter than on the Betty reel. No EQ has been performed. You hear what is on the Betty reels, as best as we can get it to you.

Grateful Dead

OK

Norman

Lloyd Noble Center, U. Of Oklahoma

10/11/1977

3

SBD>?>CDR

Lineage unknown, but crisp.

Grateful Dead

IL

DeKalb

Evans Field House, N Illinois U.

10/29/1977

3

SBD>?>Commercial Boot>CDR

Grateful Dead

NY

Hamilton

Cotterrell Gym, Colgate U.

11/4/1977

3

SBD:MR > DAT > CD-R

Disc 3 Tracks 6 - 11: unknown filler (JGB?)

Grateful Dead

NY

Binghamton

Broome County Arena

11/6/1977

3

MR>PCM>DAT>CDR

Anomalies: The minor background noises or click/pop noises noted have been compared to the master and are listed below. Disc 1 T1: 1:05; 1:41; 8:13; 9:52 T3: 5:42; 6:59; 8:09 T9: 0:16; 0:42 T10: 2:41 Disc 2 T1: 0:35 T3: 0:04 Disc 3 T6 3:21 T7 2:26

Grateful Dead

CA

San Francisco

Winterland Arena

12/27/1977

3

David Gans seed. Master Reel>DAT>Sonic Solutions remastering >CD-R.

1. "F@&%er" in "Wharf Rat" is muted out. 2. There's a glitch about the 1 min. 12 sec. mark in "Around n' Round", right around the time Bobby and Donna sing about the moon going down. David confirmed this appears on the master reel. 3. Samson encore is missing.

Grateful Dead

CA

San Francisco

Winterland Arena

12/31/1977

3

SBD>MR>DAT>CDR>EAC>SHN

Grateful Dead

WV

Huntington

Civic Center

4/16/1978

2

SBD>?

Grateful Dead

CT

New Haven

Veterans Memorial Coliseum

5/10/1978

3

Sbd>Bettys 7.5ips>DAT>CDR

Not 100% sure that this lineage is correct, but this is what was given to me… Show sure is a sweetie though

Grateful Dead

CO

Morrison

Red Rocks

7/7/1978

3

SBD>MR>?>DAT>CDR

known flaws - d3t02 d/o @ 10:14

Grateful Dead

CO

Morrison

Red Rocks Amphitheatre

7/8/1978

3

reel master>PCM>DAT>CDR>EAC>SHN

Grateful Dead

CA

San Francisco

Winterland Arena

10/18/1978

3

SBD>?>CDR

Grateful Dead

CA

San Francisco

Winterland Arena

12/31/1978

4

MSR > PCM > DAT(2) > CD

Missing E2 (AWBYGN)

Grateful Dead

PA

Philadelphia

Spectrum

11/6/1979

1

SBD>?>CDR

Set II only; this one has been floating around as a David Gans seed, but I can't confirm that is where this one comes from, although it probably is

Grateful Dead

CA

Oakland

Oakland Auditorium Arena

12/28/1979

2

SBD>?>CDR

Missing 2nd Encore (One More Saturday Night)

Grateful Dead

CA

San Francisco

Warfield Theatre

10/2/1980

2

SBD->Master Cassette->DAT->Sonic Solutions->CD>EAC>SHN

Set 3 only

Grateful Dead

CA

San Francisco

Warfield Theatre

10/3/1980

1

SBD->Master Cassette->DAT->Sonic Solutions->CD>EAC>SHN

Acoustic Set only

Grateful Dead

CA

San Francisco

Warfield Theater

10/11/1980

1

SBD>?>CDR

Acoustic set only

Grateful Dead

CA

San Francisco

Warfield Theatre

10/14/1980

3

SBD>MR>DAT>CDR>EAC>SHN

Acoustic first set and encore are missing. If anyone has these, please

email me.



Please report any flaws to Tony Gardner gdtrfb@bellsouth.net



Thanks to Paul Bottiglio for the discs

seeded to etree 4-01

Grateful Dead

CA

Oakland

Oakland Auditorium Arena

12/31/1981

4

no source info but is either board or FM; CD1: splice and tape drag in Mexicali at ~1:22; CD2: dropout during Kesey rap and tape splice in Playin' at ~9:32

Grateful Dead

VT

Burlington

Patrick Field House, U. of Vermont

4/13/1983

3 (2x74 min. 1x80 min.)

MSC -> Reel (3 3/4 ips) -> Revox A-77 (reel to reel deck) -> Alesis Masterlink ML-9600 (A/D conversion and CDR mastering) -> CDRs -> EAC -> SHN

Grateful Dead

PA

Philadelphia

Civic Convention Hall Auditorium

4/21/1984

3

Sony D5>Neumann's Spilt 45, 17' from front row>DAT>CDR

Grateful Dead

NY

Syracuse

Carrier Dome

10/20/1984

3

SBD>?>CDR>SHN

Grateful Dead

PA

Hershey

Hershey Park Stadium

6/28/1985

3

SBD>?>Commercial Boot>CDR

I have heard several analog copies of this show w/ SBD lineage and am certain that this commercial boot is from those same masters…

Grateful Dead

CA

Oakland

Henry J. Kaiser Convention Center

12/31/1986

3

SBD>Pre-FM>DAT>Serrafin Studios Re-Master>CD-R

Popping sounds during Touch Of Grey are balloons being popped on stage, NOT digi-noise…

Grateful Dead

NY

New York

Madison Square Gardens

9/18/1987

2

sbd>dat>cdr

Grateful Dead

NY

Rochester

Silver Stadium

6/30/1988

2

SBD>?>CDR

Set II only

Grateful Dead

CA

Oakland

Coliseum Arena

12/28/1988

3

Schoeps->PCM->DAT->CD-R (supposedly recorded by one of the Oade Bros.)
Stunning sound quality.

Extracted via a Plextor 40X drive>EAC>WAV>SHNv.3
all 3 discs reported 100% track qualities. also did multiple extractions and ran bit comparisons w/ no discrepancies

Notes:
Disc 2 has a breif passage of UJB which I faded out via Cool Edit Pro. Not to worry, UJB appears in it's entirety on disc 3 as well as about 10 sec of Drumz/Space, so there is plenty of overlap in case one wishes to piece the show back together and/or re-track thing to their liking.

Extracted and SHN'ed by Tim Newman (i3lkpeter@yahoo.com) 12/16/00

Grateful Dead

CA

Oakland

Coliseum Arena

12/29/1988

3

Schoeps->PCM->DAT->CD-R (supposedly recorded by one of the Oade Bros.)
Stunning sound quality.

Extracted via a Plextor 40X drive>EAC>WAV>SHNv.3
all 3 discs reported 100% track qualities. also did multiple extractions and ran bit comparisons w/ no discrepancies…

Grateful Dead

CA

Oakland

Coliseum Arena

12/31/1988

3

Schoeps->PCM->DAT->CD-R (supposedly recorded by one of the Oade Bros.)
Stunning sound quality.

Extracted via a Plextor 40X drive>EAC>WAV>SHNv.3
all 3 discs reported 100% track qualities. also did multiple extractions and ran bit comparisons w/ no discrepancies…

Grateful Dead

WI

East Troy

Alpine Valley Music Theatre

7/18/1989

3

DSBD>DAT>CD

Grateful Dead

NY

Uniondale

Nassau Veterans Memorial Coliseum

3/29/1990

2

SBD>?>CDR

Set 2 only. Branford Marsalis performs through the entire Set 2, except for Drums and Knockin'. Nice!

Grateful Dead

DC

Washington

RFK Stadium

7/12/1990

1

DSBD>??>Gans pre-FM CD>CD>CoolEditPro>CDWAV>CD and .shn

1st set only; There were about 7 brief dropouts in Feniculi Fenicula, and the same number within the first minute of Bertha. These were repaired by copying & pasting preceding/following sections, and although some artifacts are audible, the overall sound is an improvement over the original flawed sound. It is not know whether the dropouts were present on the original master recording.

Note that Jerry's vocal suffered (twice) as he sings "running" in Bertha; one of the repairs is probably undetectable; the other is *not*. Minor flaws remain during Feniculi and Bertha.

Flaws noted by Alasdair Macdonald (alimac@netcomuk.co.uk) 9/6/00:

Grateful Dead

Germany

Frankfurt

Festhalle

10/22/1990

3

AUD>?>CDR>EAC>SHN

Mic info unknown

Grateful Dead

NJ

East Rutherford

Giants Stadium

6/17/1991

3

DSBD>DAT>CDR

Best of 1991?? It's a sweetie.

Grateful Dead

NY

New York

Madison Square Garden

9/8/1991

3

SBD>DAT>CDR

Grateful Dead

NY

New York

Madison Square Garden

9/9/1991

3

DSBD>DAT>CDA>SHN

Grateful Dead

NY

New York

Madison Square Garden

9/10/1991

3

SBD>DAT>CDR

Grateful Dead

NY

New York

Madison Square Garden

9/12/1991

3

SBD>?>CDR

Grateful Dead