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1979
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June 17th
8 shows
70 tapes
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1995
30.9k
49 shows
343 tapes
1994
12.9k
85 shows
460 tapes
1993
38.6k
83 shows
656 tapes
1992
46.1k
57 shows
539 tapes
1991
43k
78 shows
973 tapes
1990
51.1k
78 shows
1,139 tapes
1989
48.5k
78 shows
1,017 tapes
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20.2k
82 shows
882 tapes
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43k
88 shows
1,025 tapes
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12.7k
47 shows
684 tapes
1985
28.5k
73 shows
1,357 tapes
1984
27.2k
67 shows
1,075 tapes
1983
20.6k
71 shows
1,069 tapes
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42.4k
63 shows
753 tapes
1981
30.4k
92 shows
868 tapes
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70.9k
91 shows
794 tapes
1979
21.2k
79 shows
608 tapes
1978
38k
87 shows
592 tapes
1977
253k
64 shows
418 tapes
1976
99.8k
45 shows
298 tapes
1975
6.3k
25 shows
63 tapes
1974
88.3k
42 shows
324 tapes
1973
90.5k
75 shows
445 tapes
1972
58.6k
88 shows
361 tapes
1971
33.7k
82 shows
357 tapes
1970
38.8k
101 shows
376 tapes
1969
28.5k
112 shows
326 tapes
1968
7.7k
41 shows
125 tapes
1967
1.7k
23 shows
55 tapes
1966
8.2k
32 shows
78 tapes
1965
638
2 shows
2 tapes
1979
12/28/79
Tuning
2:11
Sugaree
16:34
Mama Tried >
2:29
Mexicali Blues
5:43
Row Jimmy
15:20
It's All Over Now
8:12
High Time
6:53
The Music Never Stopped
8:52
Tuning
2:00
Alabama Getaway >
6:44
Greatest Story Ever Told
5:39
Terrapin Station >
14:15
Playin' In The Band >
17:37
Drums >
7:47
Space >
2:24
Uncle John's Band >
9:41
I Need A Miracle >
4:05
Bertha >
6:34
Good Lovin'
7:45
Casey Jones
6:02
One More Saturday Night
5:00
FIN
View on archive.org
Sources
Transferrer: Hunter Seamons
2:35:27
SBD
Rating:
9.86 / 15 ratings
Transferrer:
Hunter Seamons
SHNID:
gd1979-12-28.mtx.seamons.94267.sbeok.flac16
Source:
Matrix mix (SBD/AUD)
Taper Notes:
View Notes*Matrix* ---------------------------------------------------- SBD: Source: SBD > MR > PCM > DAT > WAV > FLAC. DAT provided by B.Koucky/B.Fried. Transfer/mastering: 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. Transferred and mastered by ChrisL. Seeded by the Green Mountain Bros. at bt.etree.org, September 2007. ---------------------------------------------------- AUD: Taper: Steve Rolfe 1st row balcony left side about a 1/4 to 1/3 back from the stage. Source: nak 700's > d5 > DAT > cdr Encoding: CDR > EAC(secure) > Cool Edit > CDWAV > mkwact > shn(seekable) by [email protected] Thanks to Dave Minor for the cd's Part of The Music Never Stopped Project 2003 ----------------------------------------------------- Thank you to Chris Ladner, Bill Koucky, and B. Fried for the SBD transfer; to Steve Rolfe for recording the show; to Matt Vernon for the AUD transfer; and to Dave Minor for the CD's that beheld the AUD. Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC) August 30, 2008 Notes: 1) Fades were used to create a "seamless" (i.e. continuous) AUD track. 2) The transition between discs is seamless. 3) Show notes by Eric F. Wybenga, from his book, "Dead to the Core": "This show opens with an all-time Sugaree and picks up from there. The second set is sick from start to end, starting with a very clearly sung and played Alabama>Greatest and a Terrapin>Playin' that's nothing short of phenomenal. Jerry's singing in the Terrapin is very sensitive, and the band jams it out fully before going into a Playin' of historic proportions, highlighted by Brent's lush, otherworldly synth runs. The post-Drums cascade is a series of momentum-building, flawless transitions between exciting versions of Uncle John's, Miracle, Bertha, and Good Lovin'. The Casey Jones encore, like the rest of the show, has that little bit more that kicks it into another realm. This one's hot, a must-have."
Taper: David Biggar
2:39:29
Taper:
David Biggar
Transferrer:
Matt Smith, Charlie Miller, Scott Clugston
SHNID:
gd1979-12-28.167366.nak700.biggar.smith.miller.clugston.flac2496
Source:
Master 1/2 Track Audience Reels; Nakamichi 700 mics (mounted on a 30' pole) > Technics RS-1500 Reel to Reel @ 7 1/2 ips (DBX encoded) > DBX224 > 1st generation Reels (Technics RS-1506)
Lineage:
1st Generation Reels (Technics RS-1506)> Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2024 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to David Biggar for the 1st generation reel source - Thanks to Matt Smith for the transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Mark Severson for the AKG d1000e source which supplies a 1:47 patch in "Drums - 1st generation reels dubbed directly after the show - Pitch corrected Mastered by Scott Clugston March 2024
Taper: David Biggar
2:39:29
Taper:
David Biggar
Transferrer:
Matt Smith, Charlie Miller, Scott Clugston
SHNID:
gd1979-12-28.167365.nak700.biggar.smith.miller.clugston.flac1648
Source:
Master 1/2 Track Audience Reels; Nakamichi 700 mics (mounted on a 30' pole) > Technics RS-1500 Reel to Reel @ 7 1/2 ips (DBX encoded) > DBX224 > 1st generation Reels (Technics RS-1506)
Lineage:
1st Generation Reels (Technics RS-1506)> Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2024 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to David Biggar for the 1st generation reel source - Thanks to Matt Smith for the transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Mark Severson for the AKG d1000e source which supplies a 1:47 patch in "Drums - 1st generation reels dubbed directly after the show - Pitch corrected Mastered by Scott Clugston March 2024
Taper: Scott Wiseman
2:30:09
Taper:
Scott Wiseman
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1979-12-28.154878.akg.se5.wiseman.miller.clugston.flac2496
Source:
Scott Wiseman's Master Audience Cassettes; AKG SE-5E mics with CE-1 cardioid capsules > Sony TC-D5 (TDK KR 90 except Casey Jones and One More Saturday Night - Maxell UDXLII 90)
Lineage:
Master Cassette (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2021 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Scott Wiseman for the source cassettes and transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Joani Walker, Paul Scotton and Charlie Miller for the Sennheiser 421 source which supplies a 0:13 patch in the post "Playin' in the Band" jam, as well as a 0:09 patch in "Space" - Pitch corrected Mastered by Scott Clugston October 2021
Taper: Scott Wiseman
2:30:09
Taper:
Scott Wiseman
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1979-12-28.154877.akg.se5.wiseman.miller.clugston.flac1648
Source:
Scott Wiseman's Master Audience Cassettes; AKG SE-5E mics with CE-1 cardioid capsules > Sony TC-D5 (TDK KR 90 except Casey Jones and One More Saturday Night - Maxell UDXLII 90)
Lineage:
Master Cassette (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2021 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Scott Wiseman for the source cassettes and transfer - Thanks to Charlie Miller for coordinating this effort - Thanks to Joani Walker, Paul Scotton and Charlie Miller for the Sennheiser 421 source which supplies a 0:13 patch in the post "Playin' in the Band" jam, as well as a 0:09 patch in "Space" - Pitch corrected Mastered by Scott Clugston October 2021
Taper: Mark Severson
2:39:40
Taper:
Mark Severson
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1979-12-28.144778.fob.akg.d1000e.severson.miller.clugston.flac2496
Source:
Mark Severson's Master (FOB) Audience Cassettes; AKG D1000E mics (pole mounted, DFC, 35' from stage at the free throw circle)> Sony TC-D5 (Maxell UDXLII)
Lineage:
Master Cassettes (Nakamichi DR-1)> Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Mark Severson for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Joani Walker, Paul Scotton and Charlie Miller for the shnid103117 Sennheiser 421 source which supplies a 0:09 patch in "Drums" - Pitch corrected Mastered by Scott Clugston January 2019
Taper: Mark Severson
2:39:40
Taper:
Mark Severson
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1979-12-28.144777.fob.akg.d1000e.severson.miller.clugston.flac1648
Source:
Mark Severson's Master (FOB) Audience Cassettes; AKG D1000E mics (pole mounted, DFC, 35' from stage at the free throw circle)> Sony TC-D5 (Maxell UDXLII)
Lineage:
Master Cassettes (Nakamichi DR-1)> Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Mark Severson for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Joani Walker, Paul Scotton and Charlie Miller for the shnid103117 Sennheiser 421 source which supplies a 0:09 patch in "Drums" - Pitch corrected Mastered by Scott Clugston January 2019
Taper: Mason B. Taylor
2:38:56
Taper:
Mason B. Taylor
SHNID:
gd1979-12-28.128624.naks.mason.flac16
Source:
Recorded By Mason Taylor on a Nakamichi 550 Cassette Deck, on chrome tapes, with Nakamichi microphones
Taper Notes:
View Notes"Mason B. Taylor was a taper from Chicago that recorded concerts by many bands in the Chicagoland area and on Dead tours. He used a Nakamichi 550 with Nakamichi 300 mics with shotgun capsules for most of his earlier recordings. In later years he used Sony D-5 and Sony D-3 cassette recorders with Nakamichi 300 mics. Mason captured spectacular musical moments and loved to share them with his closest friends. In honor of Mason and all the love he put into his recordings we are now able to share these moments with those who can appreciate them most. As the shows get uploaded we would love for you to share your stories about the epic times the music evokes so we can all dial back into that moment when the magic was happening. Thanks to Mason’s family and his Chicago and Cleveland friends for opening up Mason’s Jar…"