Grateful Dead Live at MacArthur Court - University of Oregon on 1978-01-22

Set 1

New Minglewood Blues
Dire Wolf
El Paso
Tennessee Jed
Jack Straw
Row Jimmy
The Music Never Stopped

Set 2

Bertha ->
Good Lovin'
Ship Of Fools
Samson And Delilah
Terrapin Station ->
Drums ->
The Other One ->
Saint Stephen ->
Not Fade Away ->
Around And Around

U.S. Blues
All sources were snh files downloaded from LMA and converted to
WAV > Vegas 5 (matrix) > WAV > CD Wave > FLAC Frontend > FLAC 16 (level 8)

Matrixed by Chris Chappell

General Notes:

Given the two sources available on the Llama, I decided to put the
effort into editing a matrix of all this incredible night in Eugene.
The FOB AUD is a decent recording for '78 and the SBD is balanced with
everyone in the mix. The two together work well as the energy in "The Pit"
is palpable in this matrix. Unfortunately, no SBD circulates for the 4
songs that comprise disc 2, but the rest is epic, especially the Jerry
mutron solo where he references the Close Encounters theme, shortly after
the movie came out.

Editing Notes:

- Pitch
Both sources were pitched differently, the SBD being the sharpest,
and the AUD being the flatest. I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
up about .06 (6 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 SBD. 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 SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

- Sonic Quality/Matrix ratio
The only dynamic processing I employed was a little EQ to the SBD source.
One difference was that I noticed NR had been applied to disc 1 but not to
disc 3. For Disc 1 I added about 1dB at 2.5kHz to get back some of which
was lost from the previous NR. Both Disc 1 and 3 had a small shelf
(less than 1dB) starting at about 170 Hz.

All I was trying to do here is to add some dimension to the SBD by using
the ambience 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 SBD/AUD
ratio would be somewhere between 3:1 and 4:1.

- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline.

d1t01 (5:50 - 6:07) - missing (crowd)
d1t04 (7:10 - 7:13) - missing (crowd)
d1t05 (4:44 - 4:56) - missing (crowd)
d1t06 (2:06:00 - 2:06:08) - missing
d1t08 (10:02 - 10:10) - missing (crowd)
d3t01 (4:24 - 4:25) - splice from another show
d3t05 (6:56 - 7:27) - splice from another show
d2t06 (2:50:05 - 2:50:17) - missing
d3t07 (8:05 - 8:21) - missing (crowd)
d3t08 (5:17 - 5:42) - missing (crowd)

d1t01 (5:26 - 5:32) - missing (crowd)
d1t02 (4:03 - 4:05) - missing (crowd)

Note that alot of the missing elements from the SBD source are just
crowd segments except for a few minor dropouts, as well as very stealth
splicing in two spots on disc 3, the most noticeable being 31 seconds
at the end of St. Stephen. I decided to leave the splices (from another
show in the same time period (probably 1-11-78) because I was able to
match them up with the AUD source without too much problem since it was
during a verse, thus maintaining a SBD source in the mix during these points.
This might seem objectionable to some, but since we are used to these
splices, I felt that the difference in content is negligable, and it was
better to have a SBD source in these parts than just the AUD.
Other than that, all of the music is intact.

Thanks to Popi for seeding the SBD. Thanks to John D'Auria for the
transfer to DAT and SHN of the AUD. Thanks to Jonathan Aizen for
uploading both sources to the Llama.

Accession Number
Donor and Provenance
See info file
Archival Resource Key