RELISTENTOTHE Grateful Dead
Re
Bands
Featured
Bands
Grateful Dead
RecentTopVenuesSongsTours
Today In History
June 6th
5 shows
39 tapes
Years
1995
29.2k
PlaybackListensHours
48h2.5k344
7d10.8k1.5k
30d29.2k4.1k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h719102
7d1.5k214
30d8.4k1.2k
85 shows
460 tapes
1993
32.1k
PlaybackListensHours
48h4.5k605
7d2.5k329
30d32.1k4.2k
83 shows
656 tapes
1992
33.2k
PlaybackListensHours
48h1k135
7d8.6k1.1k
30d33.2k4.4k
57 shows
539 tapes
1991
36.6k
PlaybackListensHours
48h2.3k299
7d8.8k1.2k
30d36.6k5k
78 shows
967 tapes
1990
35.1k
PlaybackListensHours
48h2.8k364
7d6.4k838
30d35.1k4.6k
78 shows
1,139 tapes
1989
47.2k
PlaybackListensHours
48h4k499
7d7.7k972
30d47.2k5.9k
78 shows
1,013 tapes
1988
21.7k
PlaybackListensHours
48h1.4k157
7d4.8k523
30d21.7k2.5k
82 shows
882 tapes
1987
39.6k
PlaybackListensHours
48h2.7k293
7d9.8k955
30d39.6k4.3k
88 shows
1,025 tapes
1986
15k
PlaybackListensHours
48h87296
7d2.3k262
30d15k1.7k
47 shows
683 tapes
1985
20.9k
PlaybackListensHours
48h2k236
7d4.4k514
30d20.9k2.5k
73 shows
1,356 tapes
1984
21k
PlaybackListensHours
48h1.5k197
7d2.9k374
30d21k2.6k
67 shows
1,075 tapes
1983
33.1k
PlaybackListensHours
48h1.5k198
7d4.1k539
30d33.1k4.4k
71 shows
1,069 tapes
1982
40.7k
PlaybackListensHours
48h1.8k230
7d4k501
30d40.7k5k
63 shows
753 tapes
1981
57.7k
PlaybackListensHours
48h2.2k291
7d5.4k685
30d57.7k7.3k
92 shows
868 tapes
1980
68.8k
PlaybackListensHours
48h5.8k679
7d13.6k1.6k
30d68.8k8.1k
91 shows
794 tapes
1979
28.5k
PlaybackListensHours
48h1.4k191
7d3.6k501
30d28.5k4k
79 shows
600 tapes
1978
58.9k
PlaybackListensHours
48h7.5k956
7d11.5k1.5k
30d58.9k8.1k
87 shows
592 tapes
1977
338.5k
PlaybackListensHours
48h15.5k2.1k
7d34.3k4.7k
30d338.5k47.2k
64 shows
419 tapes
1976
45.3k
PlaybackListensHours
48h8.4k1.2k
7d24.7k3.4k
30d45.3k6.1k
45 shows
298 tapes
1975
5.4k
PlaybackListensHours
48h90376
7d980107
30d5.4k574
25 shows
63 tapes
1974
96.4k
PlaybackListensHours
48h4.3k540
7d12.2k1.5k
30d96.4k12.2k
42 shows
324 tapes
1973
78.7k
PlaybackListensHours
48h4.4k573
7d11.8k1.5k
30d78.7k10k
75 shows
445 tapes
1972
76.3k
PlaybackListensHours
48h3.1k386
7d8.1k992
30d76.3k9.2k
88 shows
361 tapes
1971
33.8k
PlaybackListensHours
48h2.1k240
7d6.5k724
30d33.8k3.9k
82 shows
356 tapes
1970
33.8k
PlaybackListensHours
48h7.4k722
7d6.2k638
30d33.8k3.7k
101 shows
376 tapes
1969
23.4k
PlaybackListensHours
48h3.5k579
7d7.5k1k
30d23.4k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h59675
7d1.3k158
30d6.6k824
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h15423
7d35147
30d1.5k206
23 shows
55 tapes
1966
7.9k
PlaybackListensHours
48h49135
7d1.3k82
30d7.9k519
32 shows
78 tapes
1965
572
PlaybackListensHours
48h443
7d1277
30d57234
2 shows
2 tapes
1971
8/5/71
Bertha
9:58
Me And My Uncle
4:11
Mr. Charlie
4:02
Sugaree
7:03
El Paso
6:37
That's It For The Other One -> *
18:41
Wharf Rat *
10:45
Me And Bobby McGee
6:19
Casey Jones
5:57
Truckin' +
8:46
Loser
6:47
Big Boss Man *
6:47
Sugar Magnolia *
7:10
Bird Song *
10:17
Big Railroad Blues *
4:00
Crowd / Stage Banter / Tuning} *
2:55
Good Lovin' *
15:32
Not Fade Away *
5:34
Goin' Down the Road Feelin' Bad *
10:24
Not Fade Away
2:54
Johnny B. Goode
4:08
FIN
View on archive.org
Sources
Transferrer: Charlie Miller
2:43:13
SBD
Rating:
9.00 / 2 ratings
Transferrer:
Charlie Miller
SHNID:
gd1971-08-05.137288.sbd.miller.flac16
Source:
SBD -> Master Reel -> FLAC/24
Lineage:
FLAC/24 -> Samplitude Professional v11.2.1 -> FLAC/24
Taper Notes:
View NotesNotes: -- These are 24bit/96k flac files
Transferrer: Charlie Miller
2:43:13
SBD
Transferrer:
Charlie Miller
SHNID:
gd1971-08-05.137274.sbd.miller.flac24
Source:
SBD -> Master Reel -> FLAC/24
Lineage:
FLAC/24 -> Samplitude Professional v11.2.1 -> FLAC/24
Taper Notes:
View NotesNotes: -- These are 24bit/96k flac files
Transferrer: Charlie Miller
1:52:20
SBD
Rating:
8.57 / 8 ratings
Transferrer:
Charlie Miller
SHNID:
gd1971-08-05.sbd.miller.96540.sbeok.flac16
Source:
SBD -> Master Reel -> CD
Lineage:
CD -> Samplitude Professional v10.02 -> FLAC
Taper Notes:
View NotesPatch Info: (FOB) Sony ECM-22P -> Master Reel -> Reel -> Dat -> CD (shnid=88859) supplies: That's It For The Other One (11:53 - 12:10) Sugar Magnolia through end of show Notes: -- Master Reel transferred to CD at the Mastering Plant in L.A. -- Sugar Magnolia suffers from severe pitch issues
Transferrer: Chris Chappell
1:52:15
SBD
Rating:
9.33 / 4 ratings
Transferrer:
Chris Chappell
SHNID:
gd1971-08-05.mtx.chappell.97014.flac16
Source:
Matrix of SBD(96540) and AUD(94260) with ALT AUD(88559) and PATCH AUD(9768)
Taper Notes:
View Notes- Sugar Magnolia through end of show (d2t03>d2t06) is AUD only (no matrix) - Me & Bobby McGee through the end of the show (d1t09>d2t06) is mono only on the AUD sources due to a mic malfunction
Taper: Harvey Kaslow and Craig Todd
1:47:53
Rating:
7.33 / 4 ratings
Taper:
Harvey Kaslow and Craig Todd
Transferrer:
Charlie Miller and Joe B Jones
SHNID:
gd1971-08-05.fob-SonyECM22p.miller.88859.sbeok.flac16
Source:
(FOB) Sony ECM-22P -> Master Reel -> Reel -> Dat -> Cool Edit Pro -> CD D
Lineage:
CD -> Cool Edit Pro v2.0 -> Samplitude Professional v9.12 -> FLAC
Taper Notes:
View NotesNotes: -- Recorded By Harvey Kaslow and Craig Todd -- Thanks to Joe B. Jones for his help with the pitch correction -- Some between song tunings from Set 1 are taken from shnid=9768 -- This is much clearer than shnid=9768 -- There is a tape flip during The Other One -- Sugar Magnolia cuts right before Sunshine Daydream -- A few drops outs were removed
Transferrer: pathed by Bian Flegel
2:38:47
Transferrer:
pathed by Bian Flegel
SHNID:
gd1971-08-05.147720.fob-sonyecm22p.flegel.miller.kaslow-todd.boswell.smith.sirmick.flac16
Source:
Harvey Kaslow and Craig Todd aud
Taper Notes:
View NotesAll Transfers and Mastering By Charlie Miller [email protected] November 27, 2007 Notes: -- Recorded By Harvey Kaslow and Craig Todd -- Thanks to Joe B. Jones for his help with the pitch correction -- Some between song tunings from Set 1 are taken from shnid=9768 -- This is much clearer than shnid=9768 -- There is a tape flip during The Other One -- Sugar Magnolia cuts right before Sunshine Daydream -- A few drops outs were removed ------------------------------------------------------------------------------------------- September 2019 Work: --converted to .wav files bit rate 14H kbps / 44 khz, retracked, tagged and patched in tracks from the Charlie Miller SBD source and the Boswell / Smith / Sirmick AUD source. Increased the volume on patched SBD tracks by 25%. All post work done by Brian Flegel (using Roxio Sound Editor 2009) 9/12/19 & 9/13/19 & 9/14/19--
Taper: Harvey Kaslow and Craig Todd
1:44:54
Taper:
Harvey Kaslow and Craig Todd
Transferrer:
Will Boswell, Matt Smith, Sirmick
SHNID:
gd1971-08-05.144915.fob.sony.ecm22p.kaslow.todd.boswell.smith.sirmick.flac1644
Source:
(FOB) Sony ECM-22P's > Sony 770 > Master Reel > Reel - Recorded by Harvey Kaslow and Craig Todd, provided by Will Boswell.
Lineage:
Transfer: Reel > Technics RS1506 > Tascam DA3000 (1 bit DSD) > dB poweramp > wav 24/96 - Transferred by Matt Smith Lineage: wav > Adobe Audition 3 > iZotope RX6 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac 24
Taper Notes:
View NotesComments: - The mics fell down and that's why there is some missing. Notes: - DC offset removed. - Pitch correction. - Reel change in TIFTOO patched with shnid 96540. I also patched in the start of "Truckin'" which had been clipped. - Thank you Charlie Miller - A number opf small dropouts repaired. - this file set is 16 bit @ 44.1 Thanks to all the wonderful people that made this possible. edited and mastered SIRMick April 2018
Taper: Will Boswell and Harvey Kaslow and Craig Todd
1:44:54
Taper:
Will Boswell and Harvey Kaslow and Craig Todd
Transferrer:
SIRMick and Matt Smith
SHNID:
gd1971-08-05.141678.SonyECM-22P.kaslow-todd.boswell.smith.sirmick.flac2496
Source:
Source: (FOB) Sony ECM-22P's > Sony 770 > Master Reel > Reel - Recorded by Harvey Kaslow and Craig Todd, provided by Will Boswell;
Lineage:
Reel > Technics RS1506 > Tascam DA3000 (1 bit DSD) > dB poweramp > wav 24/96 - Transferred by Matt Smith; Lineage: wav > Adobe Audition 3 > iZotope RX6 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac 24; edited and mastered SIRMick
Taper Notes:
View NotesComments: - The mics fell down and that's why there is some missing. Notes: - DC offset removed. - Pitch correction. - Reel change in TIFTOO patched with shnid 96540. I also patched in the start of "Truckin'" which had been clipped. - Thank you Charlie Miller - A number opf small dropouts repaired. Thanks to all the wonderful people that made this possible. edited and mastered SIRMick April 2018
Taper: Harvey Kaslow and Craig Todd
1:41:11
Rating:
8.00 / 4 ratings
Taper:
Harvey Kaslow and Craig Todd
Transferrer:
Matt Smith
SHNID:
gd1971-08-05.aud.smith.94260.sbeok.flac16
Source:
(FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck @ 7 1/2 ips.
Lineage:
MAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > R > Akai GX625 > apogee mini me (24/96) > apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0 (dithered to 20/44) > CD ** > EAC > WAV (shntool confirms no sbes) > FLAC (TLH)
Taper Notes:
View NotesSource and Transfer Notes: MAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > CD 'loser' was missing on this reel but used Don Wolfe's MAR>R>R @ 3 3/4 ips copy... One of the mics malfunctioned before the second set resulting in a mono recording on set 2 R copied @ 7.5 ips using a Revox A-77>A-77 --- Mastered to cd by Matt Smith --- Playback info: R > Akai GX625 > apogee mini me (24/96) > apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0 (dithered to 20/44) > CD ** > EAC > WAV (shntool confirms no sbes) > FLAC (TLH) Notes: I want to thank Will Boswell & Matt Smith for this gem, and especially Matt for his generosity and friendship. 8 5 & 6 1971 are legendary audience recordings. they simply sound great! while I'm sure you're content if not ecstatic with what you already have, there are a few reasons to consider acquiring this dat-less version new to general circulation (and please understand this isn't a competition and I'm not trying to pit Charlie Miller against Matt Smtih). the most recent version to circulate is the one Miller remastered: http://db.etree.org/shninfo_detail.php?shnid=88859 >> the tape flip during the Other One in Miller's version doesn't seem to exist on this copy >> the other repairs that were made seem consistent with a dat source not reels (drop outs and pitch correction) >> this source seems to lack the cut Sugar Magnolia however and I have no idea why it's missing there are a few reasons to put this source into general circulation: 1. it's important to preserve your right to choose you're the expert in this case and can decide what sounds best to you. you, the listener, should have the choice. it would be wrong of me to hoard this and rob you of your choice in other words. when it's this close I'm not going to arrogantly tell you what sounds better or best to you. 2. lowest hq generation sources should be available since we're dealing with hq sources in both cases, this source is technically the lowest generation we have seen and should be in circulation at a minimum. that should be a key goal to preserving the music we love so dearly, to make hq sources with the lowest generation available. 3. known transfer another reason to add or prefer this source is we have no idea when or how Miller's most recent versions of these shows were transferred whereas we know Matt recently transferred this reel with professionally endorsed techniques and high end equipment. we simply know Miller received his DATs in 2000. As Miller explains, "I got my DAT of this show back in 2000. I have no clue as to how it was transferred. I'm sure Matt's A>D is better than the one in the deck used back in 2000." 4. unedited hq seeds should circulated at a minimum Miller's source was "remastered" which isn't always a good thing, especially if that's all we have. Raw, hq transfers, should circulate at a minimum and are the best was to preserve the music. Once these sources are available, then remasters may or may not be desirable. But since remasters can make irreversible changes, locking us into the subjective bias of the editor, we need these hq raw transfers before we should consider possible enhancements. In this case, pitch correction has proven to be tricky business. We've seen tech wizards debate whether or not it was done correctly. Since it's very easy to over or under correct, and even tech wizards often disagree, we can only go on what feels, sounds, or seems right. Because of this difficulty, we should make sure sources like this are available. * Recorded By Harvey Kaslow and Craig Todd (FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck. ** For the purpose of archival documentation, here are additional notes on how this seed was made, and why it was made this way. As Matt explains: "My basic approach to transferring/mastering is LESS IS MORE. The basic goal should be to attain the cleanest signal possible going TO digital. It all starts with analog Equipment in top condition. I've had my equipment restored and even the tape heads aligned. I also clean all the heads/ect. every reel side I play which is also paramount. Audio cables are very important as well to get a good clean signal. There can be a big difference at times depending on whatever you are using which is a whole other chapter. Now comes the most important part, the A/D conversion. I personally use Apogees just because they are the best in our specific usage IMHO. Apogee's are renowned for their 'UV22HR' dithering algorithm. this specific algorithm is used in about 80% of all the mastering houses across the country and most of the stuff you hear commercially uses this. Even if dithered down to 16/44 it 'sounds' like a 24/96 to put in simple terms. So basically load in at 24/96 then dither down and you've got yourself a nice, clean file to work with. Now the DAT thing. DATS/CD recorders are great but that's really the 'end of the chain' so to speak. I don't mean to be a name dropper but when I was struggling trying to learn the "what the hell's the difference??" debate Jeffrey Norman put it best, "the A/D converters in DATS and CD's are compromised since it's crammed with other equipment resulting in a loss of overall dynamics. a stand alone A/D converter that was made specifically for that purpose before going to DAT/CD/DAW is always the way to go if done correctly"... This simple fact is mainly not even considered (or understood) by most people but still, the most vital part in the transfer chain without question. There is no doubt to me (and others) there is more dynamic range or overall a more defined sound vs. something going into just a DAT/CD recorder from analog. A nice fat(and clean) low end is also part of the result as well lots of times that DAT transfers are missing at times. Proper monitors are also very important too!! I have a Mini DAC hooked into a Hafler 550 watt power amp going to a pair a very nice Audix studio monitors. One needs to HEAR the flat uncolored signal when editing anything IMHO. Otherwise something can be ruined forever b/c some guy decides to NR/EQ and no one will know the difference 20 years from now!! Original transfers should be treated with great care and that's what I basically try to do to the best of my ability. When I get it all done I also have the unique luxury of owning Jerry's old McIntosh stereo system(MR77 tuner,C28 Pre and MC2105 power amp)"
Taper: Rob Bertrando
1:47:07
Rating:
9.57 / 16 ratings
Taper:
Rob Bertrando
Transferrer:
Jeff Krakowka, Jim Hale, and JCotsman
SHNID:
gd71-08-05.aud.cotsman.9768.sbeok.shnf
Source:
Audience
Lineage:
AUD > MR > R > DAT > CD > SHN
Taper Notes:
View Notes--only the first few notes of Truckin' are clipped --splice @ 6:02 in Other One --left channel dropout @ 8:37 in Other One --Sound Forge was used for normalization and a slight pitch correction for some portions --there are occasional, minor blemishes