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June 16th
Years
1995
30.1k
49 shows
343 tapes
1994
12.7k
85 shows
460 tapes
1993
38k
83 shows
656 tapes
1992
45.1k
57 shows
539 tapes
1991
43k
78 shows
973 tapes
1990
48.5k
78 shows
1,139 tapes
1989
48.9k
78 shows
1,017 tapes
1988
20.3k
82 shows
882 tapes
1987
42.7k
88 shows
1,025 tapes
1986
12.5k
47 shows
684 tapes
1985
24.7k
73 shows
1,357 tapes
1984
27k
67 shows
1,075 tapes
1983
21k
71 shows
1,069 tapes
1982
42.4k
63 shows
753 tapes
1981
31.2k
92 shows
868 tapes
1980
71.1k
91 shows
794 tapes
1979
21.7k
79 shows
608 tapes
1978
38.8k
87 shows
592 tapes
1977
267.8k
64 shows
418 tapes
1976
91.9k
45 shows
298 tapes
1975
6.3k
25 shows
63 tapes
1974
89.9k
42 shows
324 tapes
1973
90.4k
75 shows
445 tapes
1972
62.9k
88 shows
361 tapes
1971
33.7k
82 shows
357 tapes
1970
39.3k
101 shows
376 tapes
1969
28.3k
112 shows
326 tapes
1968
8.1k
41 shows
125 tapes
1967
1.7k
23 shows
55 tapes
1966
8k
32 shows
78 tapes
1965
639
2 shows
2 tapes
1971
2/20/71
Casey Jones
6:48
Me and My Uncle
4:29
Hard To Handle
8:39
Bertha
6:52
Playin' In The Band
4:50
Bird Song
9:23
Big Boss Man
5:39
Cryptical > Drums > Other One
16:46
Wharf Rat
8:24
Sugar Magnolia
7:12
Truckin' >
8:08
Loser
9:10
Next Time You See Me
4:27
Greatest Story Ever Told >
4:09
Johnny B Goode
5:07
Ripple
5:39
Not Fade Away >
4:45
Goin' Down the Road >
8:06
Not Fade Away >
1:44
Turn On Your Lovelight
25:33
FIN
View on archive.org
Sources
Taper: Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer.
2:35:17
SBD
Rating:
8.67 / 3 ratings
Taper:
Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer.
Transferrer:
Transfer and mastering by Chris L.
SHNID:
gd1971-02-20.sbd.cantor-crouch-diebert-gmb.85912.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 x 2 > WBOTB Master DAT.
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 NotesReel flips and short segments of missing music (Casey Jones, Bird Song, Lovelight) were crossfaded to stealthy seamlessness by sampling the 2-3 missing beat(s) from the same measure in a preceding/following verse/chorus. All audio editing was done on 24 bit files. FFT of waveform showed 2 distinct peaks resulting in an annoying whine. First peak broadly centered around 8100 and a second at roughly 15700 Hz. These were attenuated using the SuperNotch notch filter preset of Waves Q10 32 bit paragraphic equalizer performed on the 24/96 WAV files prior to Ozone mastering and MBIT 16 bit rendering.
Transferrer: Leigh Orf
2:31:00
SBD
Rating:
8.67 / 12 ratings
Transferrer:
Leigh Orf
SHNID:
gd71-02-20.sbd.orf.111.sbeok.shnf
Source:
Soundboard
Lineage:
7inch 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz > analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R
Taper Notes:
View Notes<a href="http://www.oakland.edu/~crouch/wbotb.htm" rel="ugc nofollow">WBOTB</a> This is What Became Of The Bettys Source. I cleaned up the interference in the form of an annoying whine in the same manner as I did other Port Chester shows (2/18, 2/21, 2/23, 2/24). However, I used two different programs to do so. For disks 1 and 2, I used Diamond Cut Audio Restorations Tools Notch Filter, with a filter width of 0.03 to 0.04 octaves, centered on ~8000 Hz, or wherever the whine happened to be. I used Sound Forge Noise Reduction Plugin, centering on the whine, for disc 3. Why two different programs? I began work on this show about a month ago. I recently purchased the DCART program after hearing it being widely regarded as one of the best (affordable) programs out there for cleaning up audio. Let your ears judge which is best if you can tell the difference. I found the DCART notch filter to be the better tool for the job, while the SFNR plugin is flexible enough to be used as a notch filter. I also realized long after I was into cleaning this show up that others have done so before me on this particular show. I'd be interested in any feedback as to how my show compares to other efforts! I used the narrowest filters I could without going bonkers. In some sections of the show the whine wandered quickly, forcing me to use lots of different filters over a small portion of the show. For furthur info on my processing & related noise issues see http://orf.cx