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1971
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June 16th
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21k
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31.2k
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71.1k
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21.7k
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38.8k
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91.9k
45 shows
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6.3k
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89.9k
42 shows
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90.4k
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62.9k
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1971
33.7k
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1970
39.3k
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28.3k
112 shows
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8.1k
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1967
1.7k
23 shows
55 tapes
1966
8k
32 shows
78 tapes
1965
639
2 shows
2 tapes
1971
2/18/71
Bertha*
7:12
Truckin'
10:50
It Hurts Me Too
6:11
Loser*
8:19
Greatest Story Ever Told* >
3:53
Johnny B. Goode
3:37
Mama Tried
3:01
Hard To Handle
10:56
Dark Star >
6:40
Wharf Rat* >
7:38
Beautiful Jam
5:20
Dark Star >
1:51
Me & My Uncle
4:09
Chandelier incident
2:34
Casey Jones
6:10
Playin' In The Band*
7:23
Me And Bobby McGee
8:12
Candyman
9:52
Big Boss Man
5:39
Sugar Magnolia
8:08
Saint Stephen >
5:55
Not Fade Away >
4:26
Goin' Down The Road Feelin' Bad >
5:08
Not Fade Away >
3:56
Uncle John's Band
6:42
FIN
View on archive.org
Sources
Taper: Betty Cantor;Steve Martin
2:32:15
SBD
Taper:
Betty Cantor;Steve Martin
Transferrer:
Matt Smith;Sirmick
SHNID:
gd1971-02-18.157425.sbd.cantor.martin.smith.sirmick.flac1648
Source:
Original transfer Betty Cantor Jackson's Soundboard Master Reels ((7" 1/2 track @ 7 1/2 ips w/ dolby A)) > Sony TCD-D10 Pro DAT (Oade Brothers mod) > DAT (48k) Final transfer: DAT > Sony PCM-2600 > Tascam DA-3000 > wav 16/48
Lineage:
wav 16/48 > iZotope RX 9 Advanced > CD Wave > flac 1648
Taper Notes:
View Notes- All tracks have been speed corrected - The infamous whine at 8.25Kh has been removed. I also removed a number of feedback squeals. - There is a cut in "St. Stephen" of approximately 24 seconds. This has been patched with Charlie Miller's soundboard, shnid 111793. The patch was mixed to mono so that it is a better fit. Thanks to Steve Martin for providing this source. Thanks to Matt Smith for the transfer. edited and mastered SIRMick July 2022 There are 14 tracks in Set 1. Track one was left in by mistake and it is empty minus about 1 second of blank space. Track 2 is the tuning/banter track, Bertha is track 3 and so on so the track numbers are off by 1. The sound quality is excellent.
Taper: Betty Cantor
2:33:42
SBD
Rating:
9.55 / 23 ratings
Taper:
Betty Cantor
Transferrer:
Chris L.
SHNID:
gd1971-02-18.sbd.cantor-crouch-diebert-gmb.85478.sbeok.flac16
Source:
7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz > WBOTB Master DAT (DAT-1).
Lineage:
Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply.
Taper Notes:
View NotesOriginal WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer. *First public performance. - d2t08: Reel flip at 04:48 of "Saint Stephen" crossfaded. - Approximately 1:39 were removed from the lengthy dead space/tuning preceding "Loser" allowing the entire first set to fit on a single 80 minute disc, while keeping in Bob's "Second oldest ritual" comment... that's a fact.... - Intermittent faint audible artifacts/pops were attenuated using manual pencil redraw under high magnification. These were retrospectively found on all other circulating recordings from this performance. They were most abundant at the beginning of "Dark Star" and also at the start of "Wharf Rat". There are a few spots still remaining in "Wharf Rat" that are just too embedded to get out - sounds like minor transient peak distortion. - The notorious broad-peaked high pitched whine centered 8000-8100 KHz range was removed using a digital paragraphic equalizer (Waves Q6) with 2 narrow/notch bands (Q set maximal @ 100, -12 dB) set at just under and over 8000K for the first reel and just under and over 8100KHz for the last 3 reels. Previously circulating sources either used a wider band filter or a noise reduction approach performed on low bit/sample rate files which yields suboptimal results. All processing on this transcription was performed at 24/96 resulting in a much smoother transparent sound.
Transferrer: Dan Stephens and Scott Thompson
2:36:43
SBDREMASTER
Rating:
9.36 / 25 ratings
Transferrer:
Dan Stephens and Scott Thompson
SHNID:
gd71-02-18.sbd.stephens.6672.sbeok.shnf
Source:
Soundboard (no remastering)
Lineage:
7inch 2-track BBD reel w/dolby A @ 7.5 ips > PCM501ES@ 44.055 kHz > analog out > dolby A decoder > Apogee filter > analog in PCMF1 ; PCM501ES analog out > Fostex D5 @ 48 kHz > 3 DAT generations > Tascam DA-20mkII > SBLive! (48-44.1) > WAV > mkwACT > SHN
Taper Notes:
View Notes* first performance. This is a direct copy of the WBOTB tape circulated in 1996. No digital processing has been performed other than resampling, leaving intact the "nasty mic feedback" during Bertha and the "annoying whine" which "hovers around 8000Hz" throughout the whole show. Other copies circulate with these problems removed, but I still enjoy the tape more when it has not been noise reducted. Not recommended for the non-puristic listener.
Transferrer: Leigh Orf
2:31:20
SBDREMASTER
Rating:
9.19 / 68 ratings
Transferrer:
Leigh Orf
SHNID:
gd71-02-18.sbd.orf.107.sbeok.shnf
Source:
Soundboard (remastered)
Lineage:
SBD > Dolby A Reel > Dolby A decode > DAT > Sound Forge NR > CD-R > SHN
Taper Notes:
View Notes* first performance. The original reels of the Port Chester run of '71 were audibly tainted due to a cable problem. The result is a tone which hovers around 8000 Hz with an amplitude of about +20 dB above the noise floor. This translate to a very annoying pitch, especially during quiet sections, which is in the old-tv-tube or lousy-hard-disk or maybe even the-sound-you-hear-after-you-slam-your-head-against-a-concrete-wall class of 'whine'. Because this interference is 'monochromatic' it's easy to get rid of if you have the processing power and a quick FFT algorithm. I used the filter-shaping capabilities of the Sonic Foundry Noise Reduction Plugin to tailor a very narrow notch filter which attenuated the interference without affecting the rest of the signal. And it's all done in the digital domain. Huzzah! As a side note, I actually ended up crafting many filters to process these shows. The frequency of the interference actually drifted anywhere from 7700 to 8100 Hz during a given show. This was probalby due to a slightly wandering reel speed. It made my work harder but when I tried a much wider filter I started to be able to hear the attenuation in the music. The filters generally go like this (see info file for diagram). The end result is no more annoying whine! I also removed some of the nasty mic feedback in the 2/18/71 Bertha using this type of filter.