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Source Info
SBD
SBD: Master Cassette > Dat (44.1k) (Sony R500) > SEK'D Prodif
Plus > Samplitude v7.02 Professional -> CEPro v2.0 > SHN
Transferred and Edited By Charlie Miller
charliemiller87@earthlink.net
AUD1
MAC: (FOB) Nak700 > Sony D5 > TDK MA90. Recorded by B.Koucky.
MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96
WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using
Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.
Transfer and mastering by C.Ladner.
AUD2
MAC: (FOB) Senn 421 > Sony D5 > TDK MA90 (Set I) & TDK MAR
[aluminum core (Set II)] Mic Config: mics on T bar knee high
pointed at the stacks MAC > Nakamichi Cassette Deck 2 (azimuth
adjusted) > Audiophile 2496 > WinXP Pro > CEP 2.0 > CD Wave
Editor > Flac Frontend (encoded@level 6) >FLAC16
Location: on the lawn, 25 feet from the stage, DFC
Taper: Adam, Justin & Monica - Mark McCue Masters
All cuts, fades and edits made in CEP 2.0, normalized to 100%.
Sector boundaries verified with TLH. Transfer, minor editing
and conversion by Alex Ford 3/10 & 11/2006.
Thanks to all the hard work from the folks mentioned above in
their loving care getting these sources out. Thanks also to
the Lossless Legs Community (www.shnflac.net) for getting me
these 3 spectacular sources. Also a thanks for some of the
images used in creation of the artwork. I found them years
ago on the net and do not have anyway to properly credit.
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Tech Notes
FLAC/SHNs were decoded to wave. Wavmerge was used to reassemble
the tracks back to 1 long wave. CEP2.0 was used to align &
synch all of the sources. SF8.0 was used for the EQ setting
post mixdown. This is a 65% SBD, 20% AUD1, 15% AUD2 mix.
- Mixed by dan@am-dig.com
- FLAC conversion done 28-SEPT-2006
- Artwork at 300dpi by dan@am-dig.com
- For best results print at the highest resolution onto glossy
photo paper. Design for use in a clear double jewel case.
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Notes
After spending several months and likely more than 150 hrs
on this project I rushed my way through this text file and
the artwork. I just want to be done with it. Hopefully it
will be acceptable and without too many typos or errors.
The SBD has a strange sound characteristic that can be heard
through the first few songs and then disappears. As Charlie
Miller noted in his text file "sounds keeps improving as show
progresses". Which is indeed true. The sound keeps cycling
from normal to "overly bright". Could it be a bad Dolby
encode or decode scenario? Only when you listening very
critically. It does not subtract from these really great
recordings and great show IMO.
Both AUD recordings are very good. The Nak700 sounds like it
was on a stand and doesn't have the close crowd feeling of a
typical FOB. Some post-processing was obviously done to
maximize the levels, which does cut down a bit on the dynamic
range. The Senn 421 has a much rowdier feel with closer
crowd, clapping and a good feel for a live show.
All 3 sources had different stoppages between songs in the
first set, most notably was during "Let Phil Sing". Here
we had missing "crowd" material with no overlap. I employ
several techniques, fades, crossfades, volume changes and
"borrowing" crowd cheer from different parts of the same
recording to fill in the sound and make the new recording flow
uninterrupted. Take a listen to the first set, the missing
material now flows smooth and is most likely undetectable.
d1t01 "Bill Graham Intro" The first 20 seconds is entirely
from the NAK700 source, then the Senn 421 source fades in
and then finally the SBD also joins the mix. No music was
missing. This is smooth and is most likely undetectable.
D2 and D3 can be assembled seamlessly on longer media.
d2t01 "Scarlet Begonias" The first 10 seconds is just the
SBD and the NAK700 source, then the Senn 421 source fades in
and also joins the mix. This is smooth and is most likely
undetectable.
d3t04 "The Other One" 36.334 seconds of "fake" patch was
used to cover a missing part of the SBD source. Most likely
a repeating musical portion from earlier in the song was used.
In short, "The Other One" was patch with the very same "The
Other One". This was a very tricky edit to find and remove.
It is now patched with a matrix mix of AUD1 and AUD2 for
1:00.119 with 2 second crossfade on each. B/c this is a
change in source it is detectable by the listener.
d1t09 "Bill Graham Intro" is entirely from the NAK700 source.
This represents the 24 bit files that are the result of all my
editing and the multitrack mixdown preserved in 24 bit. It is
unclear exactly what we have in the way of high resolution.
However it seems what we have here would not be represented
accurately in 16/44. What you are getting is the full result
of the matrix mix process. How much different does this sound?
is this better? A little and yes. This is more accurate and
has more dynamic range. 24/48 resolution versus a 16/44 of
the same material will usually result in very subtle but
important differences. Most of it relying on the quality of
the DVD-A player and the D to A conversion. With that in
mind, this 24 bit copy is no different. Small but important
gains over the same material in 16/44. This is just one
man's take. Take it or leave it.
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Multitrack Mixdown Settings
SET ONE
Stereo Matrix
SBD -3
AUD1 -7
AUD2 -8.5
SET TWO
Stereo Matrix
SBD -3.5
AUD1 -7
AUD2 -8.5
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Editorial Comments
This show is like a wearing my favorite slippers. Familiar
and very comfortable. I first obtained this show in 1985
about 2 weeks after the show. I was a new 16 yr. old driver
and was giving a "friend of a friend" a ride in my car.
This guy was a pretty hard core hippie and he produced the
cassette of the second set. I was floored. At the time, and
considering my age, I had no idea anyone could get a copy of
a show THAT fast. And what a show it is. Needless to say
the next five years or so were spent wearing out that cassette.
This show is most notable for the only "Scarlet > Eyes" but
is loaded with great renditions, sick jamming and inspired
playing. The first set songs are all played really well.
The final Tom Thumb > Cold Rain > Music is fantastic. Phil
is just out-of-hand throughout. 'Nuff said.
This Scarlet is my favorite, period. A bold statement but
one I can stand tall behind. Great long intro, nice middle
of the song solo, they come around twice (I LOVE THAT!) before
the Wind in The Willows but the ensuing jam towards Fire is
inspired. Brent chasing Jerry, Brent chasing Bob. Jerry is
traveling 100 miles an hour and the band is right behind. A
real nice Fire tease and Jerry picks his moment to lead the
gang into Eyes. WOW!
Eyes is also full of spit and fire with too many acid laced
licks to count. Even GDTRFB is fast paced and fun, with Woman
still keeping your interest. Isn't that a change? Not the
longest pre-drums, 40+ mins, but understandable as clearly
Garcia needed to soak his hand in ice.
Normally topping an all Garcia tri-fecta to opened set two,
Scarlet > Eyes > GDTRFB, would be hard to beat, beat it they
do, beat it to death. The next 45+ mins is transcendental,
perfect, seamless, inspired, rocking/soothing and any other
accolade you can toss in for good measure. This time a new
tri-fecta, Truckin' > Other One > Black Peter, takes center
stage in the post drums part. Note by note, second by second
the band just clicks. It reminds me of the type of playing
they were capable of during 2/27-28, 3/1-2 when the band
was just so in tune with each other and what they are doing.
While clearly much different, take a listen. These guys
are so tuned in to what each other is doing it is 6 as 1.
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