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June 5th
Years
1995
27.4k
PlaybackListensHours
48h3.5k472
7d9.3k1.3k
30d27.4k3.8k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h67795
7d1.4k211
30d8.4k1.2k
85 shows
460 tapes
1993
31.9k
PlaybackListensHours
48h2.8k383
7d2.4k322
30d31.9k4.2k
83 shows
656 tapes
1992
32.9k
PlaybackListensHours
48h1.1k139
7d11.9k1.5k
30d32.9k4.4k
57 shows
539 tapes
1991
36.4k
PlaybackListensHours
48h1.6k222
7d8.8k1.2k
30d36.4k5k
78 shows
967 tapes
1990
35.9k
PlaybackListensHours
48h2.5k325
7d6.3k839
30d35.9k4.7k
78 shows
1,139 tapes
1989
49.7k
PlaybackListensHours
48h3.8k484
7d7.2k902
30d49.7k6.2k
78 shows
1,013 tapes
1988
21.8k
PlaybackListensHours
48h1.2k133
7d5k540
30d21.8k2.5k
82 shows
882 tapes
1987
39.1k
PlaybackListensHours
48h2.6k282
7d9.7k944
30d39.1k4.3k
88 shows
1,025 tapes
1986
14.8k
PlaybackListensHours
48h948105
7d2.2k256
30d14.8k1.7k
47 shows
683 tapes
1985
20.7k
PlaybackListensHours
48h1.8k211
7d4.3k503
30d20.7k2.4k
73 shows
1,356 tapes
1984
23.1k
PlaybackListensHours
48h1.4k183
7d2.9k372
30d23.1k2.9k
67 shows
1,075 tapes
1983
33k
PlaybackListensHours
48h1.5k189
7d4.1k544
30d33k4.4k
71 shows
1,069 tapes
1982
40.8k
PlaybackListensHours
48h1.6k207
7d4.2k526
30d40.8k5.1k
63 shows
753 tapes
1981
58.3k
PlaybackListensHours
48h2k260
7d5.4k690
30d58.3k7.4k
92 shows
868 tapes
1980
70.9k
PlaybackListensHours
48h4.1k476
7d19.8k2.4k
30d70.9k8.3k
91 shows
794 tapes
1979
29.2k
PlaybackListensHours
48h1.3k183
7d3.7k521
30d29.2k4.1k
79 shows
600 tapes
1978
56.3k
PlaybackListensHours
48h8.3k1k
7d6.9k925
30d56.3k7.8k
87 shows
592 tapes
1977
344k
PlaybackListensHours
48h15.3k2k
7d32.7k4.6k
30d344k48.1k
64 shows
419 tapes
1976
38.7k
PlaybackListensHours
48h12.4k1.7k
7d18.7k2.6k
30d38.7k5.2k
45 shows
298 tapes
1975
5.3k
PlaybackListensHours
48h70166
7d89897
30d5.3k567
25 shows
63 tapes
1974
95.8k
PlaybackListensHours
48h4.3k531
7d12.7k1.6k
30d95.8k12.1k
42 shows
324 tapes
1973
78.2k
PlaybackListensHours
48h3.9k510
7d12.2k1.6k
30d78.2k9.9k
75 shows
445 tapes
1972
77.5k
PlaybackListensHours
48h2.8k349
7d8.6k1k
30d77.5k9.4k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h2.2k251
7d8.8k1k
30d33.5k3.8k
82 shows
356 tapes
1970
33.2k
PlaybackListensHours
48h5.6k544
7d4.5k487
30d33.2k3.7k
101 shows
376 tapes
1969
23.7k
PlaybackListensHours
48h2.7k431
7d8.8k1.2k
30d23.7k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h55570
7d1.2k151
30d6.6k817
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h15521
7d34847
30d1.6k215
23 shows
55 tapes
1966
7.7k
PlaybackListensHours
48h42031
7d1.2k74
30d7.7k508
32 shows
78 tapes
1965
571
PlaybackListensHours
48h342
7d1468
30d57134
2 shows
2 tapes
1971
8/6/71
Introduction
0:47
Bertha
8:56
Playing In The Band
6:02
Loser
8:03
Mr. Charlie
5:13
El Paso
7:07
Cumberland Blues
7:07
Brokedown Palace
5:59
Me And Bobby McGee
8:11
Hard To Handle
7:48
Casey Jones
5:29
Saint Stephen
12:48
Truckin' ->
7:09
Drums ->
3:59
The Other One ->
7:49
Me And My Uncle ->
3:14
The Other One
6:25
Deal
5:48
Sugar Magnolia
6:59
Morning Dew
11:33
Turn On Your Lovelight
26:52
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: Charlie Miller
2:41:16
SBD
Rating:
10.00 / 4 ratings
Transferrer:
Charlie Miller
SHNID:
gd1971-08-06.sbd.miller.96541.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 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
Transferrer: Chris Chappell
2:42:57
SBD
Rating:
10.00 / 2 ratings
Transferrer:
Chris Chappell
SHNID:
gd1971-08-06.mtx.chappell.97015.flac16
Source:
Matrix of SBD(96541) and AUD (94261) with PATCH AUD(88816)
Taper Notes:
View NotesOf course I frequed when I saw Charlie's SBD seeds of both Hollywood Palladium shows. Recent fresh Apogee A/D transfers of Harvey Kaslow's classic AUDs by Matt Smith (instigated by Dr. Bertrando perhaps?) set the stage for a matrix. The two sources compliment each other nicely, although both sources sound great on their own, so this is by no means a rescue mission, but just another shnid to file away, or play loudly if that's your thing.
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
2:18:02
Rating:
9.94 / 33 ratings
Taper:
Harvey Kaslow and Craig Todd
Transferrer:
Charlie Miller and Joe B Jones
SHNID:
gd1971-08-06.fob-SonyECM22p.miller.88816.sbeok.flac16
Source:
(FOB) Sony ECM-22P -> Master Reel -> Reel -> Dat -> Cool Edit Pro -> SHN D
Lineage:
SHN -> Cool Edit Pro v2.0 -> Samplitude Professional v9.12 -> FLAC
Taper Notes:
View NotesNotes: -- Disc change is seamless -- Recorded By Harvey Kaslow and Craig Todd -- WRS Prelude tease after Me And My Uncle -- Thanks to Joe B. Jones for his help with the pitch correction -- Remaster of shnid=129
Taper: Harvey Kaslow
2:30:27
Rating:
9.00 / 2 ratings
Taper:
Harvey Kaslow
Transferrer:
Matt Smith and Don Wolfe
SHNID:
gd1971-08-06.127690.aud.kaslow-wolfe-smith.flac24
Source:
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
Taper: Don Wolfe
2:30:00
Rating:
10.00 / 2 ratings
Taper:
Don Wolfe
Transferrer:
Matt Smith
SHNID:
gd1971-08-06.aud.wolfe.smith.114390.flac24
Source:
Aud.7.5 ips>R(Don Wolfe)
Lineage:
Akai GX636 > Apogee Mini Me @24/96
Taper Notes:
View Notes2 seconds of static during tuning of St Stephen Weather Report Suite tease at the end of Me and My Uncle
Taper: Craig Todd and Harvey Kaslow
3:46:55
Rating:
10.00 / 5 ratings
Taper:
Craig Todd and Harvey Kaslow
Transferrer:
Jamie Waddell and Matt Smith
SHNID:
gd1971-08-06.GEMS.Smith.Kaslow-Todd.109430.flac24
Source:
FOB Sony ECM-22P mics New Riders - MAR>R@ 7.5 ips.>DVD; GD -
Lineage:
MAR>R@ 7.5 ips>DVD; Akai GX636 (a rare black model) > Apogee Mini Me @24bit/96kHz > Apogee mini DAC (monitoring/mastering) > Lynx One Audio Card > Wavelab 5.0 > FLAC
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)"
Taper: Harv Kaslow
2:17:32
Rating:
9.82 / 11 ratings
Taper:
Harv Kaslow
Transferrer:
Ben Kaspar and SirMick
SHNID:
gd1971-08-06.fob.kaslow.kasper.sirmick.77457.flac16
Source:
Sony ECM-22P mics > Sony 770 reel deck, 1/4 track 7.5 ips. 40-50 feet back, dead center
Lineage:
D>CD: Fostex D5->SB Live Digi I/O->Cool Edit Pro (by Ben Kasper)
Taper Notes:
View NotesI've been aware for some time that when I originally did the pitch corrction, I didn't get it right on the first 4 tracks. They have now been corrected SIRMick September 2006
Taper: Harv Kaslow
2:18:51
REMASTER
Rating:
9.13 / 16 ratings
Taper:
Harv Kaslow
Transferrer:
Ben Kasper and SIRMick
SHNID:
gd71-08-06.aud.sirmick.30224.sbeok.flacf
Source:
Audience - Sony ECM-22P's (remaster)
Lineage:
Sony ECM-22P mics > Sony 770 reel > Fostex D5 > SB Live Digi I/O > Cool Edit Pro > SHN
Taper Notes:
View Notessource info: Sony ECM-22P mics > Sony 770 reel deck, 1/4 track 7.5 ips. 40-50 feet back, dead center; taped by Rob Bertrando D>CD: Fostex D5->SB Live Digi I/O->Cool Edit Pro (by Ben Kasper) Remaster of <a href="http://db.etree.org/shninfo_detail.php?shnid=129" rel="nofollow">SHNid=129</a> by Sir Mick
Taper: Rob Bertrando
2:14:28
Rating:
9.56 / 201 ratings
Taper:
Rob Bertrando
Transferrer:
Ben Kasper
SHNID:
gd71-08-06.aud.bertrando.yerys.129.sbeok.shnf
Source:
Audience - Sony ECM-22P's
Lineage:
Sony ECM-22P mics > Sony 770 reel > Fostex D5 > SB Live Digi I/O > Cool Edit Pro > SHN
Taper Notes:
View Notes1/4 track 7.5 ips. 40-50 feet back, dead center. - 2 seconds of static during tuning. - Weather Report Suite tease at the end.