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1982
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June 18th
9 shows
70 tapes
Years
1995
30.6k
49 shows
343 tapes
1994
13k
85 shows
460 tapes
1993
40k
83 shows
656 tapes
1992
44.9k
57 shows
539 tapes
1991
44.7k
78 shows
973 tapes
1990
54.4k
78 shows
1,139 tapes
1989
48.4k
78 shows
1,017 tapes
1988
20.1k
82 shows
882 tapes
1987
43.2k
88 shows
1,025 tapes
1986
12.7k
47 shows
684 tapes
1985
33.3k
73 shows
1,357 tapes
1984
27.1k
67 shows
1,075 tapes
1983
20.7k
71 shows
1,069 tapes
1982
42.3k
63 shows
753 tapes
1981
30k
92 shows
868 tapes
1980
70.8k
91 shows
794 tapes
1979
21.2k
79 shows
608 tapes
1978
37.7k
87 shows
592 tapes
1977
241.3k
64 shows
418 tapes
1976
103.1k
45 shows
298 tapes
1975
6.4k
25 shows
63 tapes
1974
87.5k
42 shows
324 tapes
1973
90.6k
75 shows
445 tapes
1972
57.5k
88 shows
361 tapes
1971
33.6k
82 shows
357 tapes
1970
38.8k
101 shows
376 tapes
1969
28.6k
112 shows
326 tapes
1968
7.5k
41 shows
125 tapes
1967
1.7k
23 shows
55 tapes
1966
7k
32 shows
78 tapes
1965
637
2 shows
2 tapes
1982
7/25/82
Mississippi Half-Step Uptown Toodleloo
9:17
Franklin's Tower
10:26
C.C. Rider
7:45
Bird Song
10:11
El Paso
5:58
Candyman
6:37
Lost Sailor
6:58
Saint Of Circumstance
6:53
Deal
8:02
Scarlet Begonias
10:30
Fire On The Mountain
9:02
Samson and Delilah
9:09
Crazy Fingers
8:43
Estimated Prophet
17:26
Drums
4:25
Not Fade Away
7:01
Black Peter
8:53
Good Lovin'
9:25
Don't Ease Me In
3:25
FIN
View on archive.org
Sources
Taper: Ken Kelley
2:49:18
Taper:
Ken Kelley
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1982-07-25.167342.shure.sm57.kelley.miller.clugston.flac2496_202404
Source:
Ken Kelley's Master Audience Cassettes; Shure SM-57 mics > JVC KD-2 w/Super ANRS (Maxell XLII-S90)
Lineage:
Master Cassettes (JVC KD-A55 w/Super ANRS) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (.wav 24-bit/96k) > Adobe Audition 2024 > TLH 2496
Taper Notes:
View NotesNotes: - Thanks to Ken Kelley for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Jim Vita and Charlie Miller for the Sennheiser 421 source which supplies a 0:33 patch in "Estimated Prophet", a 0:06 patch in "Drums", as well as a 0:23 patch in "Space" - Weir remains on stage with the Billy & Mickey before "Drums" - Pitch corrected Mastered by Scott Clugston December 2023
Taper: Ken Kelley
2:49:18
Taper:
Ken Kelley
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1982-07-25.167341.shure.sm57.kelley.miller.clugston.flac1648
Source:
Ken Kelley's Master Audience Cassettes; Shure SM-57 mics > JVC KD-2 w/Super ANRS (Maxell XLII-S90)
Lineage:
Master Cassettes (JVC KD-A55 w/Super ANRS) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (.wav 24-bit/96k) > Adobe Audition 2024 > TLH 2496
Taper Notes:
View NotesNotes: - Thanks to Ken Kelley for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Jim Vita and Charlie Miller for the Sennheiser 421 source which supplies a 0:33 patch in "Estimated Prophet", a 0:06 patch in "Drums", as well as a 0:23 patch in "Space" - Weir remains on stage with the Billy & Mickey before "Drums" - Pitch corrected Mastered by Scott Clugston December 2023
Taper: Marc Severson & Anonymous
2:47:54
Taper:
Marc Severson & Anonymous
Transferrer:
Joe Noel and John Ammons and Philly Crew
SHNID:
gd1982-07-25.142278.Severson.WeberSmall.Donaldson.Ammons.Noel.t-flac1644
Source:
Marc Severson & Anonymous Recording (FOB): Nakamichi 700s (DBX II) > Master Cassette > PCM(1); A Philly Crew
Lineage:
PCM > Sony PCM601esd (spdif out) > Marantz PMD661 recorder > Nuendo > Wav 16/44
Taper Notes:
View NotesNotes: - Thanks to John Ammons for sharing his PCM with us - originally mastered to PCM with portable DBX box to decode, by Sean Weber Small - clones made with a pair of Sony SL-HF360 decks, a Sony PCM601, using Sony HG Betamax tapes by Dougal Donaldson - emphasis decoded - dc offset removed - minor eq'ing in Nuendo & Waves q10 - cross fades applied to tape pauses & flips - When in the desert, under the stars, Scarlet -> Fire - Estimated turns into a rhythm section jam before The Rhythm Devils take over.
Taper: Executive Crew: Kyle Holbrook & Olvy Johnson
2:38:47
Taper:
Executive Crew: Kyle Holbrook & Olvy Johnson
Transferrer:
Kyle Holbrook
SHNID:
gd1982-07-25.138609.beyerm201.holbrook.flac2448
Source:
<b/>flac24 48khz</b>source: Master Audience Recording: Beyer M 201c Location: 150 feet from stage|40 ft LOC (on axis with LT stack) Lineage - Beyer M201's (hyper cardiod)in in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ON
Lineage:
Nakamichi LX-5 -> Tascam DR680 @ 24/48Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 equalized with 2 dB overall bass boost below 400Hz & 1.5dB 500-7k mid boost. set 2 equalized with less bass boost.Taped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook
Taper Notes:
View Notes/ Our practice at the time was to stop the recorder after every time the band stopped. The theory was saving batteries and tape space. We would learn to record the entire show by Spring 83! I cut dead space or faded down/up at those cuts but there are a few harsh stops/starts-apologies from my 21 year old self! // Tape flip * cut drums after 3 minutes Compton Terrace July 25 1982- mic location- lawn about 150 from stage We set up a blanket and staked out some space making it known that we were tapers. most of the folks around us were nice and asked how to get acopy and ultimately were respectful of what we were doing. EXCEPT for this one guy behind us who kept screaming loud things including, "I want to f**k your wife" the entire first set. During encore break, he came up to us and apologized saying it was his first Dead show. He thought we were "bootleggers" and until his friends told him we were cool and the band allowed the recording he was loud. He said nothing during set2 and our time was less stressful thinking at least we were getting less crowd noise. Even with modern mixing tools you can still hear this guy on the recording. The complete story of our summer tour can be read in the text file.
Taper: Executive Crew: Kyle Holbrook & Olvy Johnson
2:38:47
Taper:
Executive Crew: Kyle Holbrook & Olvy Johnson
Transferrer:
Kyle Holbrook
SHNID:
gd1982-07-25.138608.beyerm201.holbrook.flac1644
Source:
<b/>flac16 44 khz</b> source: Master Audience Recording: Beyer M 201c Location: 150 feet from stage|40 ft LOC (on axis with LT stack) Lineage - Beyer M201's (hyper cardiod)in in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ON
Lineage:
Nakamichi LX-5 -> Tascam DR680 @ 24/48Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 equalized with 2 dB overall bass boost below 400Hz & 1.5dB 500-7k mid boost. set 2 equalized with less bass boost.Taped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook
Taper Notes:
View Notes/ Our practice at the time was to stop the recorder after every time the band stopped. The theory was saving batteries and tape space. We would learn to record the entire show by Spring 83! I cut dead space or faded down/up at those cuts but there are a few harsh stops/starts-apologies from my 21 year old self! // Tape flip * cut drums after 3 minutes Compton Terrace July 25 1982- mic location- lawn about 150 from stage We set up a blanket and staked out some space making it known that we were tapers. most of the folks around us were nice and asked how to get acopy and ultimately were respectful of what we were doing. EXCEPT for this one guy behind us who kept screaming loud things including, "I want to f**k your wife" the entire first set. During encore break, he came up to us and apologized saying it was his first Dead show. He thought we were "bootleggers" and until his friends told him we were cool and the band allowed the recording he was loud. He said nothing during set2 and our time was less stressful thinking at least we were getting less crowd noise. Even with modern mixing tools you can still hear this guy on the recording. The complete story of our summer tour can be read in the text file.