General Notes:
In an effort to find something to matrix from 1975, I found this 5 song stretch
at the end of set 1 from the Bob Fried Memorial Boogie that is the only portion of
this show that circulates in SBD. Because this version of Peggy-O is ultimately
responsible for turning me "on" to the Dead, I decided it was worth an effort to
see what a matrix would sound like. The SBD suffers from multiple cassette gens
and has no high end at all. My expectations were pretty low becasue of the SBD
quality, but I was pleasantly surprised when coupled with the AUD at about a 1:1
ratio, that the low end from the SBD (Phil esp.) really helped round out the amazing
AUD recorded by Rob Bertrando. If you don't have this show in its entirety, do
yourself a favor and download Rob's AUD, because it really is a quintessential
Dead bootleg. The show opener, Crazy Fingers (1st ever), is worth the download alone.
Other breakouts from this show include Help on the Way (sans vocals) and Franklin's
Tower. Blues For Allah would not be released for another 2 months, so it's likely
that Help was a work in progress, thus the lack of lyrics for it's debut. Slipknot!
appears only for the 3rd time, although it's the first time in this classic trio.
Thanks to Rob Bertrando for recording the AUD and others responsible for converting
and seeding this classic recording. Also thanks to the Music Never Stopped Project
for finding the SBD source and getting it out there even though it's only a partial.
Enjoy!
Chappy
Editing Notes:
- Pitch
Both sources were pitched differently, the SBD being the sharpest,
and the AUD being the flatest. I used the AUD as my master timeline
and pitch referenced the SBD to it. The SBD on average had to be pitched
down about -.17 (17 cents) to achieve pitch correction - 1.00 being
100 cents which is a semitone. I did not reference A=440 as I did not
desire to pitch adjust the AUD. It is very close though to A=440.
- Synch
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Because the AUD was my
master pitch and time ref, the SBD was synched to the SBD (too many
edits to list).
- Sonic Quality/Matrix ratio
The only dynamic processing I employed was a little bit of compression
(Sony Track Comp.) to the SBD source. All I was trying to do here is to add some
punch to the AUD by using the low end presence of the AUD. The result is a
lively but clear recording, hopefully close to how it sounded at the show.
If I had to guess the AUD/SBD ratio would be somewhere around 1:1.
- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline. Crossfades
were used throughout for smooth transitions to a single source.