Don't Need Love > | 1984-04-14 | Grateful Dead

Transferred/Edited by Charlie Miller

gd1984-04-14.sbd.walker-smiller.32501.sbeok.flac16

SBD -> Cassette Master -> Cassette (Sony TC-WE475) -> Sony R500 (Pass Through) -> SEK'D Prodif Plus -> Samplitude Professional v8.01 -> FLAC

gd1984-04-14.senn441.koucky.ladner.34901.sbeok.flac16

View Notes-- Thanks to Paul Scotton and Joani Walker for the cassettes. 
-- There is a discontinuity ~4 seconds into Tennessee Jed.

Taper: Bill Koucky

SBD FOB Sennheiser 441s > Sony D5 > Maxell MX90 MAC > cleaned/demagged Nakamich DR-2 > Presonus Firebox preamp/A-D > firewire > 2 GHz P4 PC - XP Pro > Wavelab 5 (recorded as 24 bit / 96 kHz WAV) > rendered to 16 bit/44.1 KHz WAV using Waves L3 Multimaximizer, hi res CD settings > CDWAV 1.9 (tracking) > FLAC (level 8)

Rob Eaton, Scott Clugston, Charlie Miller

View NotesSecond public performance of the Brent rarity "Don't Need Love".
Taper gets hassled at the beginning of the first set to lower mic stands (NOT!).
First set flip spliced at end of d1t06/beginning of "Tennesee Jed" snagged from recently seeded shotgun audience masters.
Pauses between tracks during the first set smoothed with crossfades.

Taper: Rob Eaton

gd1984-04-14.164499.neumann.u87.eaton.miller.clugston.flac2496

Rob Eaton's Master (FOB)(DFC) Audience Cassettes; Neumann U87 mics > Sony D5M

Master Cassettes (Nakamichi Dragon) > Pro Tools 12 > .wav 24/96 > Adobe Audition 2022 > TLH2496

Rob Eaton, Scott Clugston, Charlie Miller

View NotesNotes:
- Thanks to Rob Eaton for the recording, as well as the transfer and harddrive
- Thanks to Charlie Miller for coordinating this effort
- Thanks to Bill Koucky and the folks responsible for the Sennheiser 441 source which supplies some crowd and the first notes of "Tennessee Jed" (0:06 total), as well as a 0:27 patch in "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2022

Taper: Rob Eaton

gd1984-04-14.164498.neumann.u87.eaton.miller.clugston.flac1648

Rob Eaton's Master (FOB)(DFC) Audience Cassettes; Neumann U87 mics > Sony D5M

Master Cassettes (Nakamichi Dragon) > Pro Tools 12 > .wav 24/96 > Adobe Audition 2022 > TLH2496

View NotesNotes:
- Thanks to Rob Eaton for the recording, as well as the transfer and harddrive
- Thanks to Charlie Miller for coordinating this effort
- Thanks to Bill Koucky and the folks responsible for the Sennheiser 441 source which supplies some crowd and the first notes of "Tennessee Jed" (0:06 total), as well as a 0:27 patch in "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2022

Taper: Doug Lamarre

gd1984-04-14.154428.fob.senn441.lamarre.miller.clugston.flac2496

Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496

View NotesNotes:
- Thanks to Jim Vita (RIP) for the 1st generation cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:1 patch in "Truckin'" as well as a 10:02 patch in Drums"
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
June 2021

Taper: Doug Lamarre

gd1984-04-14.154427.fob.senn441.lamarre.miller.clugston.flac1648

Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496

Charlie Miller and Scott Clugston

View NotesNotes:
- Thanks to Jim Vita (RIP) for the 1st generation cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:1 patch in "Truckin'" as well as a 10:02 patch in Drums"
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
June 2021

Taper: Oade, Robert Bryant

gd1984-04-14.139328.fob.schoeps.mk41.oade.bryant.miller.clugston.flac2496

(FOB) Schoeps CMC4/MK41 > Oade M118 > Cassette Master (Sony WM-D6C/Dennon DXM-90)

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition 3.0 > FLAC/24

View NotesNotes:
-- Recorded By Robert Bryant (patched out of the Oade brothers)
-- Thanks to Joe B. Jones for his help with the pitch correction
-- Dropout in "Playin' in the Band" @ 1:51 smoothed and is virtually transparent
-- Tape flip in "Space" smoothed and is transparent

Transfer by Charlie Miller
Mastered by Scott Clugston
September 12, 2017

Taper: Oade, Bryant, Rick Castwirk

2:21:15

Oade, Bryant, Rick Castwirk

Charlie Miller, Scott Clugston

gd1984-04-14.139327.fob.schoeps.mk41.oade.bryant.miller.clugston.flac1644

(FOB) Schoeps CMC4/MK41 > Oade M118 > Cassette Master (Sony WM-D6C/Dennon DXM-90)

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition 3.0 > FLAC/24

gd1984-04-14.neumann-u87.eaton.miller.90595.sbeok.flac16

View NotesNotes:
-- Recorded By Robert Bryant (patched out of the Oade brothers)
-- Thanks to Joe B. Jones for his help with the pitch correction
-- Dropout in "Playin' in the Band" @ 1:51 smoothed and is virtually transparent
-- Tape flip in "Space" smoothed and is transparent

Transfer by Charlie Miller
Mastered by Scott Clugston
September 12, 2017

Taper: Rob Eaton

(FOB) Neumann U87 -> Cassette Master (Sony D5) -> Dat (48k) D

Dat (Sony R500) -> Sound Devices 744T -> Samplitude Professional v10.02 -> FLAC

View NotesNotes:
-- Disc change is seamless
-- Recorded By Rob Eaton
-- One More Saturday Night Tease before Throwing Stones

Taper: Bill Koucky

gd1984-04-14.148458.fob.senn.441.koucky.miller.clugston.flac2496

Bill Koucky's Master (FOB) Audience Cassettes ; Sennheiser 441 mics > Sony D5 (Maxell MX90)(2nd deck in line, in the pit)

Master Cassettes (Nakamichi DR-1) > Edirol UA-5 24/96 > WaveLab 6.01 24/96 > Adobe Audition 24/96 > TLH flac2496

View NotesNotes:
- Thanks to Bill Koucky for the master recording and the fresh transfer (June 2019)
- Thanks to Charlie Miller for coordinating this effort
- Thanks to the Oade's and all the folks responsible for the Schoeps CMC4 MK41 source which supplies the transition and first few notes of "Tennessee Jed" (0:10 total)
- Thanks to Steve Adelman for the Sennheiser 441 source which supplies a 2:13 patch in "Drums"
- One More Saturday Night tease before "Throwing Stones"
- Pitch corrected
- from Bill "IMO this is my best GD capture of a top 5 attended show, this what a Grateful Dead Show sounded like"

Mastered by SCott Clugston
December 2019

Taper: Bill Koucky

gd1984-04-14.148457.fob.senn.441.koucky.miller.clugston.flac1648

Bill Koucky's Master (FOB) Audience Cassettes ; Sennheiser 441 mics > Sony D5 (Maxell MX90)(2nd deck in line, in the pit)

Master Cassettes (Nakamichi DR-1) > Edirol UA-5 24/96 > WaveLab 6.01 24/96 > Adobe Audition 24/96 > TLH flac2496

gd1984-04-14.176745.beyer.3ch.strizak.vita.flac2448

View NotesNotes:
- Thanks to Bill Koucky for the master recording and the fresh transfer (June 2019)
- Thanks to Charlie Miller for coordinating this effort
- Thanks to the Oade's and all the folks responsible for the Schoeps CMC4 MK41 source which supplies the transition and first few notes of "Tennessee Jed" (0:10 total)
- Thanks to Steve Adelman for the Sennheiser 441 source which supplies a 2:13 patch in "Drums"
- One More Saturday Night tease before "Throwing Stones"
- Pitch corrected
- from Bill "IMO this is my best GD capture of a top 5 attended show, this what a Grateful Dead Show sounded like"

Mastered by SCott Clugston
December 2019

Taper: Tom Strizak

Master Audience Cassettes (2-TDK-MA90’s / Dolby OFF). Sony TC-D5M stereo recorder patched 2nd in line *Special Thanks to Jim Vita (RIP) TC-D5M recorder. Microphones: (2) Beyer M160 mics with (1) Beyer M88 center blend mic. Location: Approx. 40’ from stage at center of audience FOB.

Analog Master Cassette played back on Nakamichi CR-1A > Behringer XR-18 audio mixer > ZOOM H-5 digital recorder 24bit/48K WAV > Reaper v7.61 *DAW (for final audio editing and mastering (-14LUFS) > Audacity *DAW (for track labeling and conversion from 24bit/48K single WAV file to FLAC 24bit/48K multiple file set = 1 stereo file for each song track. TOTAL tracks = 17) (*DAW = Digital Audio Workstation)

gd1984-04-14.161418.mtx.seamons.ht155.flac16

View NotesNotes: There’s a tape flip after Essau/missed a few seconds of beginning of Tennessee Jed and it is very slowly faded in. Otherwise, smooth listening and very nice quality audio throughout. ***CAUTION: There are some very strong Bass and Drums peaks on this recording. (Pitch set at 1.073x)

Source 14 of 26

Matrix by Hunter Seamons using Final Cut Pro (FLAC > AIFF > Final Cut w/EQ > AIFF CD tracking via Audacity > FLAC16 via xACT w/meta-tagging) December 25, 2022

gd1984-04-14.157542.aud.carpenter.flac2448

View NotesNotes:

16-second cut in Tennessee Jed and 5-second cut in Morning Dew now patched in the SBD source. 7 seconds missing from the AUD source during Space.

Occasional SBD hot level distortion, but still a pretty good sound.

Taper: Ted Carpenter

View NotesPatch Sources:
Identifier: gd1984-04-14.154427.fob.senn441.lamarre.miller.clugston.flac1648
Special Thanks to lamarre, miller, clugston for helping to complete these sets.

set 1
Swapped channels to correct Left / Right stereo.
Added intro to Tennessee Jed from 00:00 to 00:16
intro to Tennessee Jed 00:00 to 00:16 decreased gain by 3 db.
slight timber change during patch.

set 2
Swapped channels to correct Left / Right stereo.
decreased specific drum beats by 1.5 db due to clipping 4 specific peaks.
Patch end of drums for tape flip from  09:05 to 09:21.
decreased gain by 2 db. patch almost unnoticeable, slight timber chan

Taper: Recorded by: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook, Mike Yacavone, Olvy Johnson)

2:18:19

Recorded by: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook, Mike Yacavone, Olvy Johnson)

gd1984-04-14.149491.beyerm201.holbrook.flac2448

MAUD CA: Beyer M201's XY 60 feet from stage >Sony TCD5M > s1 Sony Metallic90; s2:TDK MA c90 No Dolby

View Notes+ 1s cut at about 25 second mark of track
# Playing tease at end just before transition into "Don't Need Love"
Recording Information:
First set tape was stopped between every song break; we must have been trying to conserve batteries. Second set same method until after drums.

Taper: Recorded by: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook, Mike Yacavone, Olvy Johnson)

2:18:19

Recorded by: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook, Mike Yacavone, Olvy Johnson)

gd1984-04-14.149490.beyerm201.holbrook.flac1644

MAUD CA: Beyer M201's XY 60 feet from stage >Sony TCD5M > s1 Sony Metallic90; s2:TDK MA c90 No Dolby

View Notes+ 1s cut at about 25 second mark of track
# Playing tease at end just before transition into "Don't Need Love"
Recording Information:
First set tape was stopped between every song break; we must have been trying to conserve batteries. Second set same method until after drums.

Taper: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook)

2:17:57

Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook)

gd1984-04-14.149112.mke2002.holbrook.flac2448

MAUD CA: Sennheiser MKE2002 Binaurals mounted on dummy head 60 feet from stage >Sony TCD5M >Maxell Metal 100s No Dolby - Master copy from lead deck run by CK.

View Notes# Playing tease at end just before transition into "Don't Need Love"

Recording Information:

1] The Sennheiser binaurals were pressure gradient "omni" type capsules designed to be worn on a human head or the supplied dummy head. This is one of the best representations of how they sounded in this type of live environment.
This will sound BEST through headphones; through a stereo you may choose to increase bass slightly.
2] First set tape was stopped between every song break; we must have been trying to conserve tape. Second set same method until after drums.

Taper: Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook)

2:17:56

Executive Crew (Chris Kidwell, Sean Murtha, Tom Pinney, Kyle Holbrook)

gd1984-04-14.149111.mke2002.holbrook.flac1644

MAUD CA: Sennheiser MKE2002 Binaurals mounted on dummy head 60 feet from stage >Sony TCD5M >Maxell Metal 100s No Dolby - Master copy from lead deck run by CK.

View Notes# Playing tease at end just before transition into "Don't Need Love"

Recording Information:

1] The Sennheiser binaurals were pressure gradient "omni" type capsules designed to be worn on a human head or the supplied dummy head. This is one of the best representations of how they sounded in this type of live environment.
This will sound BEST through headphones; through a stereo you may choose to increase bass slightly.
2] First set tape was stopped between every song break; we must have been trying to conserve tape. Second set same method until after drums.

Source 20 of 26

2:27:36

gd1984-04-14.126040.sennheiser_441.scarletdog.flac16

Master: 2 Sennhesier 441s and Sony TC-D5m Cassette Master; 2nd deck in line after another D5;

Playback Sony UCX-S cassette masters on Sony TC-D5m to Marantz PMD-670

Taper: chasingwilma

gd1984-04-14.123023.chasingwilma.flac24

lineage: (3)audio technica atm11 fob> optimus> d-5> mc> sony tc we435> sony pcm m-10 24bit/96khz> soundforge> cdwave> traders little helper encoding option 8; conversion rate: 96000/24 bit

Taper: Da Weez

gd1984-04-14.109331.beyer-senn.daweez.D5scott.flac16

source: 2 Beyer M160's & 1 Sennheiser 421 Microphones (up front) > Nak MX100 w/2001> Sony TC-D5M (Dolby on) - analog master cassettes;

Sony TC-D5M (original record deck - Dolby on) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac and ffp files

gd1984-04-14.senn421.mccue.ford.79652.sbeok.flac16

View Notes-----------------------------------------------------------------------------------------------------------------------------------------------------------------
R.I.P. Sandy - aka "Bigfoot"  He was a friend of mine and "Da Weez" who had nothing to do with this recording, but we all sure do miss him!
-----------------------------------------------------------------------------------------------------------------------------------------------------------------

Taper: Mark McCue & unknown

(FOB) Sennheiser 421s (shoulder level) > Sony D5 > Sony D5 > Maxell XLII 90s (MAC); MAC > Nakamichi CD2 [azimuth adjusted] > rca/xlr > Lunatec V3 > coax > Audiophile 2496 > CEP 2.0 > CDWAV > TLH > FLAC

View Notes- files encoded at level 6. Correct sector boundaries verified with Trader's Little Helper
- patches: d1t06 My Brother Esau 4:58-5:00 / d1t07 Tennessee Jed 00:00-00:28 &  07:31-08:03
  d2t05 Drums 08:17-8:36
- all patches from shn id #32501 - http://db.etree.org/shninfo_detail.php?shnid=32501
- alll edits performed with Cool Edit Pro 2.0

Source 24 of 26

2:32:03

gd1984-04-14.aud.bandrofcheck.34555.sbeok.shnf

3 Nak 701s > MX-100(modified) > D5

View NotesThis recording was done to capture as much as possible. There were no tape flips requiring fast forwarding or rewinding during the actual recording. Side A of the first tape was recorded then Side A of the second cassette. Everything was then fast forwarded at the break and the B Sides were recorded. Very little crowd noise has been removed.

Source 25 of 26

D5 > D10 > SHN

gd84-04-14.neumann.pj.1562.sbeok.shnf

View NotesEdited out a few minutes of Space.  This transfer was done in '88 when DAT tapes were costing $25 a piece and my friends and I had to order them from Japan.

Source 26 of 26

Neumann U-87 mics > Sony D-6 > DAT > CDR