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Today In History
June 6th
5 shows
39 tapes
Years
1995
29.2k
PlaybackListensHours
48h2.3k316
7d10.8k1.5k
30d29.2k4.1k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h69499
7d1.5k214
30d8.4k1.2k
85 shows
460 tapes
1993
32.1k
PlaybackListensHours
48h4.7k638
7d2.5k329
30d32.1k4.2k
83 shows
656 tapes
1992
33.2k
PlaybackListensHours
48h1.1k151
7d8.6k1.1k
30d33.2k4.4k
57 shows
539 tapes
1991
36.6k
PlaybackListensHours
48h2.7k358
7d8.8k1.2k
30d36.6k5k
78 shows
967 tapes
1990
35.1k
PlaybackListensHours
48h2.8k359
7d6.4k838
30d35.1k4.6k
78 shows
1,139 tapes
1989
47.2k
PlaybackListensHours
48h3.8k477
7d7.7k972
30d47.2k5.9k
78 shows
1,013 tapes
1988
21.7k
PlaybackListensHours
48h1.3k149
7d4.8k523
30d21.7k2.5k
82 shows
882 tapes
1987
39.6k
PlaybackListensHours
48h2.7k290
7d9.8k955
30d39.6k4.3k
88 shows
1,025 tapes
1986
15k
PlaybackListensHours
48h83292
7d2.3k262
30d15k1.7k
47 shows
683 tapes
1985
20.9k
PlaybackListensHours
48h2k234
7d4.4k514
30d20.9k2.5k
73 shows
1,356 tapes
1984
21k
PlaybackListensHours
48h1.5k195
7d2.9k374
30d21k2.6k
67 shows
1,075 tapes
1983
33.1k
PlaybackListensHours
48h1.5k191
7d4.1k539
30d33.1k4.4k
71 shows
1,069 tapes
1982
40.7k
PlaybackListensHours
48h1.8k227
7d4k501
30d40.7k5k
63 shows
753 tapes
1981
57.7k
PlaybackListensHours
48h2.1k280
7d5.4k685
30d57.7k7.3k
92 shows
868 tapes
1980
68.8k
PlaybackListensHours
48h5.8k672
7d13.6k1.6k
30d68.8k8.1k
91 shows
794 tapes
1979
28.5k
PlaybackListensHours
48h1.3k184
7d3.6k501
30d28.5k4k
79 shows
600 tapes
1978
58.9k
PlaybackListensHours
48h6.7k857
7d11.5k1.5k
30d58.9k8.1k
87 shows
592 tapes
1977
338.5k
PlaybackListensHours
48h14.7k2k
7d34.3k4.7k
30d338.5k47.2k
64 shows
419 tapes
1976
45.3k
PlaybackListensHours
48h7.7k1.1k
7d24.7k3.4k
30d45.3k6.1k
45 shows
298 tapes
1975
5.4k
PlaybackListensHours
48h85971
7d980107
30d5.4k574
25 shows
63 tapes
1974
96.4k
PlaybackListensHours
48h4.2k524
7d12.2k1.5k
30d96.4k12.2k
42 shows
324 tapes
1973
78.7k
PlaybackListensHours
48h4.3k566
7d11.8k1.5k
30d78.7k10k
75 shows
445 tapes
1972
76.3k
PlaybackListensHours
48h3.2k386
7d8.1k992
30d76.3k9.2k
88 shows
361 tapes
1971
33.8k
PlaybackListensHours
48h2.1k232
7d6.5k724
30d33.8k3.9k
82 shows
356 tapes
1970
33.8k
PlaybackListensHours
48h7.5k740
7d6.2k638
30d33.8k3.7k
101 shows
376 tapes
1969
23.4k
PlaybackListensHours
48h3.4k570
7d7.5k1k
30d23.4k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h58973
7d1.3k158
30d6.6k824
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h13720
7d35147
30d1.5k206
23 shows
55 tapes
1966
7.9k
PlaybackListensHours
48h47134
7d1.3k82
30d7.9k519
32 shows
78 tapes
1965
572
PlaybackListensHours
48h493
7d1277
30d57234
2 shows
2 tapes
1982
7/29/82
Crowd/Tuning
1:49
New Minglewood Blues
7:56
Friend Of The Devil
9:03
Cassidy
5:54
Loser
7:34
Feel Like A Stranger
8:12
Tennessee Jed >
8:14
Looks Like Rain
7:50
Might As Well
4:29
Crowd/Tuning
0:51
Cold Rain & Snow >
5:37
Samson & Delilah
7:25
Crazy Fingers >
8:45
I Need A Miracle > Crazy Fingers Jam > Jam >
10:40
Drums >
8:20
Space >
3:46
The Other One >
10:27
Goin' Down The Road Feeling Bad >
7:38
Wharf Rat >
9:18
Around & Around >
3:56
Good Lovin '
8:10
E: Brokedown Palace
5:27
FIN
View on archive.org
Sources
Transferrer: Scott Clugston
33:06
SBD
Transferrer:
Scott Clugston
SHNID:
gd1982-07-29.167265.2nd.set.excerpt.sbd.eaton.clugston.flac1648
Source:
Master Soundboard Cassette > Reel To Reel (Otari 5050) > DAT 16/48(Panasonic SV-3800)
Taper Notes:
View NotesNotes: - Thanks to an anonymous benefactor (you know who you are) for the source 16/48 .wavs - Pitch corrected Mastered by Scott Clugston March 2024
Transferrer: Scott Clugston
1:16:32
SBD
Rating:
8.67 / 3 ratings
Transferrer:
Scott Clugston
SHNID:
gd1982-07-29.167264.2nd.set.partial.sbd.clugston.flac16
Source:
Master Soundboard Cassette > ? > C > C > PCM
Taper Notes:
View NotesNotes: - Thanks to an anonymous benefactor (you know who you are) for the source .wavs - Thanks to Scott Wiseman for the AKG SE-5E source which supplies a 0:10 patch in "The Other One > Goin' Down The Road Feeling Bad" transition - Other One space included in "The Other One" - Pitch verified Mastered by Scott Clugston March 2024
Taper: Scott Wiseman
2:31:21
Taper:
Scott Wiseman
Transferrer:
Scott Wiseman and Scott Clugston, Charlie Miller
SHNID:
gd1982-07-29.167229.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 (Maxell UDXLII 90)
Lineage:
Master Cassettes (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2023 > 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 Jim Wise for the Sennheiser 421 source which supplies a 0:13 patch in "Drums", as well as an 0:08 patch in "Around & Around" - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston September 2023
Taper: Scott Wiseman
2:31:21
Taper:
Scott Wiseman
Transferrer:
Scott Wiseman and Scott Clugston, Charlie Miller
SHNID:
gd1982-07-29.167228.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 (Maxell UDXLII 90)
Lineage:
Master Cassettes (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2023 > 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 Jim Wise for the Sennheiser 421 source which supplies a 0:13 patch in "Drums", as well as an 0:08 patch in "Around & Around" - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston September 2023
Taper: Frank Streeter
2:31:09
Taper:
Frank Streeter
Transferrer:
Charlie Miller
SHNID:
gd1982-07-29.135533.BeyerM160-Senn421.streeter-miller.flac16
Source:
Recording Info: (FOB) (2)Beyer M160's + (1)Sennheiser 421 -> Cassette Master (Sony TC-D5M/TDK MA-C90/Dolby B); Transfer Info: Cassette Master (Nakamichi CR-7A/Dolby B) -> Korg MR1000 (24bit/96k) -> Samplitude Professional v11.2.1 -> FLAC/16; Recorded By Frank Streeter; Transfered By Neil Sturtevant; Mastered By Charlie Miller
Taper: Frank Streeter
2:31:09
Taper:
Frank Streeter
Transferrer:
Charlie Miller
SHNID:
gd1982-07-29.135532.BeyerM160-Senn421.streeter-miller.flac24
Source:
Recording Info: (FOB) (2)Beyer M160's + (1)Sennheiser 421 -> Cassette Master (Sony TC-D5M/TDK MA-C90/Dolby B); Transfer Info: Cassette Master (Nakamichi CR-7A/Dolby B) -> Korg MR1000 (24bit/96k) -> Samplitude Professional v11.2.1 -> FLAC/24; Recorded By Frank Streeter; Transfered By Neil Sturtevant; Mastered By Charlie Miller
Taper: Jim Wise
2:29:33
Rating:
8.00 / 2 ratings
Taper:
Jim Wise
Transferrer:
Charlie Miller
SHNID:
gd1982-07-29.fob.senn421.wise.miller.102569.flac16
Source:
(FOB) Sennheiser 421 -> Cassette Master (Sony TC-D5M/Maxell UDXLII-C90/Dolby B)
Lineage:
Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.22 -> FLAC/16
Taper Notes:
View NotesNotes: -- Disc change is seamless -- Recorded By Jim Wise -- Thanks to Jim Wise for lending me his master cassettes -- Thanks to Joe B. Jones for his help with the pitch correction
Taper: Anon
2:29:56
Taper:
Anon
Transferrer:
Scott Clugston
SHNID:
gd1982-07-29.172806.senn441.clugston.flac2496
Source:
Master Audience Cassettes; Sennheiser 441 mics > Sony D5M (TDK-MA-C90)
Lineage:
Master Cassettes (Nakamichi CR-7A)> Apogee Ensemble > Peak Pro 6 (24-bit/96k .wav > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to our benefactors, who wish to remain anonymous, for the master cassette recording and transfer - Thanks to Jim Wise and Charlie Miller for the Sennheiser 421 source which supplies a 0:43 patch in the "Drums > Space" transition - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston June 2019
Taper: Anon
2:29:56
Taper:
Anon
Transferrer:
Scott Clugston
SHNID:
gd1982-07-29.172805.senn441.clugston.flac1648
Source:
Master Audience Cassettes; Sennheiser 441 mics > Sony D5M (TDK-MA-C90)
Lineage:
Master Cassettes (Nakamichi CR-7A)> Apogee Ensemble > Peak Pro 6 (24-bit/96k .wav > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to our benefactors, who wish to remain anonymous, for the master cassette recording and transfer - Thanks to Jim Wise and Charlie Miller for the Sennheiser 421 source which supplies a 0:43 patch in the "Drums > Space" transition - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston June 2019
Taper: Concert recording by Rip Tompkins, & with thanks to Richie Stankiewicz!
2:33:05
Taper:
Concert recording by Rip Tompkins, & with thanks to Richie Stankiewicz!
Transferrer:
Transferred by Andrew F. 04/2022
SHNID:
gd1982-07-29.156430.beyer.tompkins.flac2448
Source:
BeyerDynamic mics > Sony TC-D5M > TDK MA-90s
Lineage:
Transfer: MAC > Nakamichi CR-5A (Dolby-B in) > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > TLH > FLAC 2448 tagged.
Taper Notes:
View NotesNote: Possible match to ID-135532, not sure. ID-142568 patch covers first 14 seconds of Cold Rain & Snow. No patch available for Drums > Space transition, small fades added at track break.
Taper: Sean Weber Small and Dougal Donaldson
2:29:56
Rating:
10.00 / 1 rating
Taper:
Sean Weber Small and Dougal Donaldson
Transferrer:
Joe Noel and John Ammons and Philly Crew
SHNID:
gd1982-07-29.142568.Anon.Severson.Weber-Small.Donaldson.Ammons.Noel.t-flac1644
Source:
Marc Severson & Anonymous Recording (FOB): Nakamichi 700s > DBX box II > Master Cassette > PCM(1); A Philly Crew
Lineage:
PCM > Sony PCM601esd (spdif out) > Marantz PMD661 recorder > Nuendo > Flac 16/44
Taper Notes:
View NotesNotes: - Thanks to John Ammons for sharing his beta with us - Props to the Philly Crew, they get it done. - Thanks to Jim Wise & Charlie Miller for the patch source - 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 - additional processing done in Audacity - cross fades applied to tape pauses & flips - pre drums jam has shades of Crazy Fingers & TOO - Red Rocks in the rain, after three days of bad Front Range weather, the PA is tired.
Taper: Executive Crew: Kyle Holbrook & Olvy Johnson
2:22:39
Taper:
Executive Crew: Kyle Holbrook & Olvy Johnson
Transferrer:
Kyle Holbrook
SHNID:
gd1982-07-29.138615.beyerm201.holbrook.flac2428
Source:
<b/>flac24 48khz</b> Source Audience Recording: Beyer M 201c Location: 110 feet from stage|DFC (1st row behind soundboard)
Lineage:
Beyer M201's (hyper cardiod)in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ONPlayback: Nakamichi LX-5 ->Marantz PMD 661|SD card 24/96Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 All but Minglewood: equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boost. set 2 equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boostTaped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook
Taper Notes:
View NotesNotes: // tape flip * Missing start + feedback from PA 46:40ish # Missed some drums, we would start when Jerry, Bob, and Phil came on stage. / 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! Due to steady rain all show there are some PA problems set 1. The PA issues are on other AUD recordings; they sound like clipping issues all through the show (speaker distortion during high SPL's). Set1: PA Levels vary & sound muddy during Minglewood. Clears up at FOTD. Set2: PA sound didn't settle in until Samson Red Rocks Amphitheatre Morrison CO Night 3 SUN July 29 1982 mic location- 110 feet from stage dead center (first row behind soundboard) We had found Olvy a SUN ticket the day before and were finally able to absorb the park, take it in a bit, go to the visitors bureau hut and such before heading in a bit late for us. We wound up directly behind the soundboard in the midst of several other tapers. This was the first time we met and spoke with other tapers. Which resulted in the first time we felt embarrassed or out of place with our straw cowboy hat "mic stand". One guy mentioned we should buy a stand and we started thinking about it after that. This show was the ultimate wrapping up of a three day run in a magical location like Red Rocks. Phil's bass was booming- but perfectly clear, Jerry's leads were soaring and Bobby was in great form. But it RAINED - both sets! Even the Dead's vaunted sound crew had problems with the PA, crackling can be heard on all recordings made of this show. All in all, the sound quality of this tape, and others on the LMA, are pretty good, considering it rained the entire show. The second Other One in 3 days had the tour heads buzzing and the entire atmosphere was electric. I'm pretty sure this is when I got the bug to go on tour and tape as many of these things as I could. The complete story of our summer tour can be read in the text file.
Taper: Executive Crew: Kyle Holbrook & Olvy Johnson
2:22:39
Taper:
Executive Crew: Kyle Holbrook & Olvy Johnson
Transferrer:
Kyle Holbrook
SHNID:
gd1982-07-29.138614.beyerm201.holbrook.flac1644
Source:
<b/>flac16 44.1khz</b> Source Audience Recording: Beyer M 201c Location: 110 feet from stage|DFC (1st row behind soundboard)
Lineage:
Beyer M201's (hyper cardiod)in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ONPlayback: Nakamichi LX-5 ->Marantz PMD 661|SD card 24/96Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 All but Minglewood: equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boost. set 2 equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boostTaped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook
Taper Notes:
View NotesNotes: // tape flip * Missing start + feedback from PA 46:40ish # Missed some drums, we would start when Jerry, Bob, and Phil came on stage. / 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! Due to steady rain all show there are some PA problems set 1. The PA issues are on other AUD recordings; they sound like clipping issues all through the show (speaker distortion during high SPL's). Set1: PA Levels vary & sound muddy during Minglewood. Clears up at FOTD. Set2: PA sound didn't settle in until Samson Red Rocks Amphitheatre Morrison CO Night 3 SUN July 29 1982 mic location- 110 feet from stage dead center (first row behind soundboard) We had found Olvy a SUN ticket the day before and were finally able to absorb the park, take it in a bit, go to the visitors bureau hut and such before heading in a bit late for us. We wound up directly behind the soundboard in the midst of several other tapers. This was the first time we met and spoke with other tapers. Which resulted in the first time we felt embarrassed or out of place with our straw cowboy hat "mic stand". One guy mentioned we should buy a stand and we started thinking about it after that. This show was the ultimate wrapping up of a three day run in a magical location like Red Rocks. Phil's bass was booming- but perfectly clear, Jerry's leads were soaring and Bobby was in great form. But it RAINED - both sets! Even the Dead's vaunted sound crew had problems with the PA, crackling can be heard on all recordings made of this show. All in all, the sound quality of this tape, and others on the LMA, are pretty good, considering it rained the entire show. The second Other One in 3 days had the tour heads buzzing and the entire atmosphere was electric. I'm pretty sure this is when I got the bug to go on tour and tape as many of these things as I could. The complete story of our summer tour can be read in the text file.
Taper: Doug Lamarre
2:26:00
Taper:
Doug Lamarre
Transferrer:
Rob Berger
SHNID:
gd1982-07-29.135525.aud.lamarre.berger.flac24
Source:
source: aud cassette master; taped by Doug Lamarre; nak 300’s > sony d5m, fob; maxell udxl-II90, mx90, dolby b; nakamichi dragon/b > benchmark ADC1 24/96 > tascam HD-P2, compact flash > mac > adobe audition > fission> xACT flac; transferred and seeded by Rob Berger
Taper: Doug Lamarre
2:26:00
Taper:
Doug Lamarre
Transferrer:
Rob Berger
SHNID:
gd1982-07-29.135524.aud.lamarre.berger.flac16
Source:
source: aud cassette master; taped by Doug Lamarre; nak 300’s > sony d5m, fob; maxell udxl-II90, mx90, dolby b; nakamichi dragon/b > benchmark ADC1 24/96 > tascam HD-P2, compact flash > mac > adobe audition > fission> 16/44.1 > xACT flac; transferred and seeded by Rob Berger
Taper: Mason B. Taylor
2:32:31
Rating:
8.00 / 2 ratings
Taper:
Mason B. Taylor
SHNID:
gd1982-07-29.naks.mason.129722.flac16
Source:
Recorded By Mason Taylor on a Nakamichi 550 Cassette Deck, on chrome tapes, with Nakamichi microphones; Transferred on Mason's restored Nak550
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…"
Taper: Bob Morris
2:31:42
Rating:
6.67 / 3 ratings
Taper:
Bob Morris
Transferrer:
Bob Morris
SHNID:
gd1982-07-29.nak300.morris.102039.sbeok.flac16
Source:
Nakamichi CM-300 shotgun (CP-4) x2 > Cassette Master (Marantz Superscope CD320/Maxell UDXLII C-90)
Lineage:
Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 16-bit/44.1kHz) > cdwav (edits)
Taper: Jim Wise
2:27:10
Rating:
9.50 / 16 ratings
Taper:
Jim Wise
Transferrer:
Jim Wise
SHNID:
gd82-07-29.fob-senn421.wise.4981.sbeok.shnf
Source:
Audience Recording: Sennheiser 421's
Lineage:
FOB - Senn 421's> Sony TC-D5 (at mouth of the stage)> Nak Dragon Playback> HHB CDR-850 (no DAT gen)> CDR
Taper Notes:
View NotesFOB - Senn 421's> Sony TC-D5 (at "mouth" of the stage)> Nak Dragon Playback> HHB CDR-850 (no DAT gen)> CDR (Jim Wise transfer/master); Extraction, Editing, Shorten Compression & Upload by Mike "dankstar" Parrillo; ; note <a href="http://db.etree.org/shninfo_detail.php?shnid=4722" rel="ugc nofollow">another</a> version circulates with some different md5s
Taper: Jim Wise
2:27:13
Taper:
Jim Wise
Transferrer:
Jim Wise
SHNID:
gd1982-07-29.senn421.wise-lai.4722.shnf
Source:
FOB - Senn 421's>Sony TC-D5 (at "mouth" of the stage)>Nak Dragon Playback>HHB CDR-850 (no DAT gen)>CDR