SBD + AUD Matrix (60%-SBD/40%-AUD)
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Source Info
SBD
Recording Info:
SBD > Cassette Master (Nak 550) > Cassette (Sony D5)
Transfer Info:
Cassette (Nakamichi DR-1) > Sound Devices 744T (24bit/48k) >
Samplitude Professional v10 > FLAC/16
AUD
Recording Info:
FOB > Sony ECM-250 > Cassette Master (Sony TC-158/TDK SA-C90)
Transfer Info:
Cassette Master (Nakamichi DR-1) > Sound Devices 744T (24bit/96k) >
Samplitude Professional v10 > FLAC/16
Patch Info:
Nak 700 > Cassette Master > Reel > Dat > CD (shnid=9799)
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Notes on the Source Material
This mix is only possible b/c of the masterful 24 bit transfers done
by Charlie Miller and the incredible recordings by Joani Walker and
Paul Scotton. Big thanks to all of them for their hard work and
tremendous afforts in making these available to me and now to you.
When Charlie heard the SBD and the AUD source he gave a call and
said I have a perfect candidate for a matrix mix. And he was 100%
right. Combining these 2 recordings I allow us to hear this show the
way it was meant to be listened to.
The SBD recording has Garcia very, very low in the mix. However, the
AUD source has Jerry front and center just where you want him. By
putting these sources together I approximate that Jerry's guitar has
increased in volume anywhere from +3bd to +5db in the mix. Now you
can understand the artwork that states "Yes Jerry, we hear you loud
and clear."
The SBD derived from a 1st generation analog source the consistent
speed and low hiss is remarkable. If I was not told that this was
a 1st gen cassette I easily would have thought it was a master
cassette source. The speed between the SBD and the AUD ran extremely
close. This really shows the great equipment, incredible recordings
by Joani Walker/Paul Scotton and the perfect digital transfers by
Charlie Miller.
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Tech Notes
Charlie Miller sent me the 24/48 waves files as one long track
for each set. CEP2.0 was used to align & synch both sources
(time compress and expand). CEP2.0 was used to preform the
multitrack mixdown at 16/44. This is a 60% SBD, 40% AUD mix.
- Mixed by dan@am-dig.com
- FLAC conversion 18-MAR-2008
- Artwork by dan@am-dig.com 300dpi - For best results
print at the highest resolution onto glossy photo paper.
Design for use with a clear, slim, double CD case.
- Special thanks to unknown photographers that helped with
all the images used for the artwork.
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Multitrack Mixdown Settings
Stereo Matrix
SET ONE
SBD -2
AUD -6
SET TWO
SBD -2.5
AUD -6
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Notes
Both the SBD and the AUD at every opportunity was pause between
songs on both sets causing abrupt transitions. I huge effort
was made (fades, crossfades, volume changes and "borrowing" crowd
cheer from different areas) to make these between songs transitions
as smooth and sounding as natural as possible. In most situations
these edits came out very nice and are no longer audible.
d1t01 "Tuning" approx the first 15 seconds is made up entirely
of the AUD source then crossfades to the SBD before Jack Straw
starts. This is smooth and is most likely undetectable.
d1t02 "Jack Straw" after the song ends Bob Weir says "Good
evening and welcome to the late show". This was missing from
the AUD source. I patch this with the Nak 700 FOB in Jack
Straw at (5:41 - 5:53). This created a slight bit of phasing
but is hardly noticeable and I decided I'd like to keep the
stage banter intact.
d2t11 "Tuning" approx the first 1 min 25 secs is made up entirely
of the AUD source then crossfades to the SBD before Shakedown
starts. This is smooth and is most likely undetectable.
d2t11 "Drums" on the SBD source was missing material from
(0:18 - 0:40). I used a matrix mix of the AUD and the NAK700
source to fill this hole. This is smooth and is most likely
undetectable and shows how great the AUD sources are.
d2t11 "Drums" on the AUD source was missing material from
(5:38 - 5:57). I patch this with the Nak 700 FOB source.
This source was upsampled to match the 24/48 high resolution.
This is smooth and is most likely undetectable.
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Notes on the Sound Samples
I am sorry all the sound sample are from the second set.
By the time I decided to create sound samples I had already
removed and archived all the first set files.
Sample_1
This is just a clip of the matrix mix to give you an idea of
what to expect. Note the subtle changes in sound over the
straight SBD. The extra warmth and lingering notes from the
guitar and the additional "thump" to the bass.
Sample_2
This sample gives you a quick A/B/C comparison of the straight
SBD, followed by the AUD and the matrix. You'll hear a 15
second clip of the SBD, followed by a 15 second clip of the AUD,
followed by a 15 second clip of the Matrix. 15 seconds SBD, 15
seconds AUD, 15 seconds Matrix and so on. (There are no
crossfades and transitions left intentionally abrupt.)
Sample_3
This sample gives you a comparison of the SBD and the Matrix
and how the Matrix helps bring Jerry Garcia back into the mix.
You'll hear a 15 second clip of the SBD, followed by a 15 second
of the Matrix. 15 seconds SBD, 15 seconds Matrix and so on.
Note how Garcia enters into the mix at approx +3db over the SBD.
Sample_4
Here you get to hear a clip of all 6 channels represented in
the 5.1 surround sound, multichannel mix. The order is as
follows: (25 Second clips of each)
Front Left/Right > Center > Sub/LFE > Surround Left/Right
These are MP3's created from the original 24/48 waves files,
take it for what they are. But it does give you some idea.