RELISTENTOTHE Grateful Dead
Re
1971
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Grateful Dead
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Today In History
June 16th
Years
1995
30.1k
PlaybackListensHours
48h1.5k182
7d1.4k185
30d30.1k4.2k
49 shows
343 tapes
1994
12.7k
PlaybackListensHours
48h1.6k240
7d4.5k665
30d12.7k1.8k
85 shows
460 tapes
1993
38k
PlaybackListensHours
48h1.8k247
7d6.9k909
30d38k5k
83 shows
656 tapes
1992
45.1k
PlaybackListensHours
48h2.8k375
7d8.2k1.1k
30d45.1k6k
57 shows
539 tapes
1991
43k
PlaybackListensHours
48h2.7k360
7d11.1k1.4k
30d43k5.8k
78 shows
973 tapes
1990
48.5k
PlaybackListensHours
48h5.3k747
7d12.4k1.6k
30d48.5k6.3k
78 shows
1,139 tapes
1989
48.9k
PlaybackListensHours
48h2.2k274
7d7.4k925
30d48.9k6.1k
78 shows
1,017 tapes
1988
20.3k
PlaybackListensHours
48h1.1k134
7d3.4k397
30d20.3k2.3k
82 shows
882 tapes
1987
42.7k
PlaybackListensHours
48h4.1k505
7d13.8k1.7k
30d42.7k4.8k
88 shows
1,025 tapes
1986
12.5k
PlaybackListensHours
48h86499
7d2.6k292
30d12.5k1.4k
47 shows
684 tapes
1985
24.7k
PlaybackListensHours
48h6.8k776
7d5.9k693
30d24.7k2.9k
73 shows
1,357 tapes
1984
27k
PlaybackListensHours
48h2.2k280
7d12.1k1.4k
30d27k3.3k
67 shows
1,075 tapes
1983
21k
PlaybackListensHours
48h967122
7d3.4k441
30d21k2.7k
71 shows
1,069 tapes
1982
42.4k
PlaybackListensHours
48h1.3k159
7d3.6k443
30d42.4k5.3k
63 shows
753 tapes
1981
31.2k
PlaybackListensHours
48h1.9k242
7d5.3k665
30d31.2k3.9k
92 shows
868 tapes
1980
71.1k
PlaybackListensHours
48h3.9k441
7d15.3k1.8k
30d71.1k8.3k
91 shows
794 tapes
1979
21.7k
PlaybackListensHours
48h1.1k161
7d4.1k580
30d21.7k3k
79 shows
608 tapes
1978
38.8k
PlaybackListensHours
48h1.6k216
7d4.9k672
30d38.8k5.2k
87 shows
592 tapes
1977
267.8k
PlaybackListensHours
48h7.8k1.1k
7d26.6k3.7k
30d267.8k37k
64 shows
418 tapes
1976
91.9k
PlaybackListensHours
48h16.1k2.2k
7d42k5.6k
30d91.9k12.4k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h42745
7d88291
30d6.3k647
25 shows
63 tapes
1974
89.9k
PlaybackListensHours
48h3.2k412
7d9.8k1.3k
30d89.9k11.4k
42 shows
324 tapes
1973
90.4k
PlaybackListensHours
48h4k517
7d18.7k2.6k
30d90.4k11.6k
75 shows
445 tapes
1972
62.9k
PlaybackListensHours
48h2.5k314
7d6.6k846
30d62.9k7.7k
88 shows
361 tapes
1971
33.7k
PlaybackListensHours
48h1.6k169
7d4.3k482
30d33.7k3.9k
82 shows
357 tapes
1970
39.3k
PlaybackListensHours
48h1.2k146
7d4.3k504
30d39.3k4.2k
101 shows
376 tapes
1969
28.3k
PlaybackListensHours
48h1.5k231
7d3.8k540
30d28.3k4.2k
112 shows
326 tapes
1968
8.1k
PlaybackListensHours
48h73290
7d1.7k205
30d8.1k1k
41 shows
125 tapes
1967
1.7k
PlaybackListensHours
48h13819
7d31345
30d1.7k233
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h45828
7d89261
30d8k538
32 shows
78 tapes
1965
639
PlaybackListensHours
48h302
7d1097
30d63938
2 shows
2 tapes
1971
8/6/71
Bertha
7:25
Playing in the Band
5:29
Loser
7:17
Mr. Charlie
4:14
Cumberland Blues
5:58
Brokedown Palace
5:28
Me And Bobby McGee
6:28
Hard To Handle
7:43
Casey Jones
5:32
St. Stephen
6:42
Truckin' ->
7:03
Drums ->
4:06
The Other One >
6:49
Me And My Uncle >
4:26
The Other One
5:49
Deal
5:39
Sugar Magnolia
6:59
Morning Dew
11:13
Turn On Your Lovelight
24:31
FIN
View on archive.org
Sources
Transferrer: Kevin Tobin
2:45:09
SBD
Transferrer:
Kevin Tobin
SHNID:
gd1971-08-06.dts.tobin.130794.flac16
Source:
<b>DTS-Audio-CD 5.1 Mix</b>; SBD (shnid=96541) Recording Info: SBD -> Master Reel -> CD Transfer Info: CD -> Samplitude Professional v10.02 -> FLAC; All Transfers and Mastering By Charlie Miller + AUD (shn id 127690)
Lineage:
MAR (Harvey Kaslow) @ 7 1/2 ips. > R @ 7 1/2 ips.(Don Wolfe); Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC - dts mixing by Kevin Tobin
Taper Notes:
View NotesOther Audio Info: El Paso is from the sbd as it was not on the audience tape. Only major part of song that was missing was about 1 minute close to the end of Lovelight. The audience was much slower than the soundboard (about 2 seconds per minute and it seemed to drag) so I used the sbd as the timing reference. --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 30-JUL-2014 - Trader Little Helper - Tagged 30-JUL-2014 - Tag&Rename --------------------------------------------------------- Front Left Channel SBD -0db Right Channel SBD -0db Center Mixed to mono -1db SBD Surround Left Channel -0db AUD Right Channel -0db AUD Sub/LFE Mixed to mono -1db SBD -------------------------------------------------------------- More On DTS Today's audio standards are moving towards multi-channel sound, like DTS and Dolby Digital. While the Audio-CD standard (Red Book) hasn't changed to accommodate these new sound formats, it is still possible to go around the specification and to put a 5.1 surround recording on a regular Audio-CD. To play a DTS-Audio-CD you must connect your DVD/CD player via a digital cable (optical or coaxial) to your DTS Dolby-Digital receiver. It is not 100% sure that your receiver will recognize a DTS-Audio CD, so the first time you're trying to playback a DTS-Audio-CD you must do a test to determine if it can. Begin with the volume very low, start the disc and raise the volume gradually. NEVER listen to a DTS-Audio-CD through the analog audio outputs of your CD/DVD player. Burning Instructions Burn them the absolute same way as you would burn any normal Audio-CD from FLAC files. Brokedown House Production
Transferrer: Kevin Tobin
2:45:09
SBD
Transferrer:
Kevin Tobin
SHNID:
gd1971-08-06.mtx.tobin.130793.flac16
Source:
Matrix 2 Source Mix - SBD (shnid=96541) Recording Info: SBD -> Master Reel -> CD Transfer Info: CD -> Samplitude Professional v10.02 -> FLAC; All Transfers and Mastering By Charlie Miller + AUD (shn id 127690)
Lineage:
MAR (Harvey Kaslow) @ 7 1/2 ips. > R @ 7 1/2 ips.(Don Wolfe); Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC - matrix mixing by Kevin Tobin
Taper Notes:
View NotesOther Audio Info: El Paso is from the sbd as it was not on the audience tape. Only major part of song that was missing was about 1 minute close to the end of Lovelight. The audience was much slower than the soundboard (about 2 seconds per minute and it seemed to drag) so I used the sbd as the timing reference. --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 30-JUL-2014 - Trader Little Helper - Tagged 30-JUL-2014 - Tag&Rename --------------------------------------------------------- Multitrack Mixdown Settings SET ONE Stereo Matrix SBD 0 AUD -0.5 SET TWO Stereo Matrix SBD 0 AUD -0.5 --------------------------------------------------------- Brokedown House Production
Transferrer: Hunter Seamons
2:43:18
SBD
Rating:
9.67 / 8 ratings
Transferrer:
Hunter Seamons
SHNID:
gd1971-08-06.mtx.seamons.96668.sbeok.flac16
Source:
Matrix mix (SBD/AUD)
Taper Notes:
View Notes*Matrix* ---------------------------------------------------- SBD (shnid=96541): Recording Info: SBD -> Master Reel -> CD Transfer Info: CD -> Samplitude Professional v10.02 -> FLAC (3 Discs Audio / 2 Discs FLAC) All Transfers and Mastering By Charlie Miller [email protected] March 19, 2008 Patch Info: (FOB) Sony ECM-22P -> Master Reel supplies: The Other One (1:25 - 2:19) Notes: -- Set 2 is seamless -- WRS Prelude tease after Me And My Uncle -- Master Reel transferred to CD at the Mastering Plant in L.A. ---------------------------------------------------- AUD (shnid=94261): MR > R > CD > EAC > WAV > FLAC MAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > CD --- 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) * Recorded By Harvey Kaslow and Craig Todd (FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck. [missing El Paso; shnid=88816 provides Me and Bobby McGee] ----------------------------------------------------- Thank you to Charlie Miller for the SBD transfer, to Harvey Kaslow and Craig Todd for recording the show, and to Rob Bertrando, Will Boswell, and Matt Smith for the AUD transfer. Matrix by Hunter Seamons using Final Cut Pro (FLAC>AIFF>Final Cut>WAV>FLAC) January 3, 2009 Notes: 1) There is about a minute cut in the AUD near the end of Lovelight. There are gaps in the AUD between songs. 2) While the primary AUD did not have Me & Bobby McGee, it did have a significantly longer crowd intro and outro than shnid=88816. 3) The right channel of the AUD was low during the last two songs. This was adjusted.
Taper: Harvey Kaslow and Craig Todd
2:15:41
Rating:
8.57 / 7 ratings
Taper:
Harvey Kaslow and Craig Todd
Transferrer:
Matt Smith
SHNID:
gd1971-08-06.aud.kaslow.smith.94261.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 > CD --- 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)
Taper Notes:
View NotesWRS Prelude tease after Me And My Uncle 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=88816 I have no idea why Me and Bobby McGee is missing from this reel 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)"