RELISTENTOTHE Grateful Dead
Re
1982
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Grateful Dead
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Today In History
June 16th
5 shows
82 tapes
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
1982
7/29/82
Tuning
2:12
New Minglewood Blues
7:58
Friend Of The Devil
9:00
Cassidy
6:10
Loser
8:04
Feel Like A Stranger
8:22
Tennessee Jed ->
8:26
Looks Like Rain
7:41
Might As Well
4:32
Cold Rain And Snow ->
5:48
Samson And Delilah
7:59
Crazy Fingers ->
8:25
I Need A Miracle ->
5:32
Crazy Fingers Jam ->
5:07
Drums/ ->
7:34
Space ->
8:12
The Other One ->
5:31
Goin' Down The Road Feeling Bad ->
7:38
Wharf Rat ->
9:18
Around And Around/ ->
3:57
Good Lovin'
7:54
Crowd
1:23
Brokedown Palace
5:48
FIN
View on archive.org
Sources
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: 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: 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…"