Ramble On Rose | 1984-04-17 | Grateful Dead

Carrier Dome, Syracuse U.

East Rutherford, NJ, USA

East Rutherford, NJ, USA

Hartford Civic Center

Hartford Civic Center

Ventura County Fairgrounds

Ventura County Fairgrounds

Alpine Valley Music Theatre

Alpine Valley Music Theatre

Cedar Rapids, IA, USA

Pine Knob Music Theater

Indianapolis Sports and Music Center

Indianapolis, IN, USA

Cuyahoga Falls, OH, USA

2:29:28

7 tapes

6/27SBD

Merriweather Post Pavilion

Merriweather Post Pavilion

Saratoga Performing Arts Center

Saratoga Springs, NY, USA

Kingswood Music Theater

Maple, Ontario, Canada

Red Rocks Amphitheatre

Red Rocks Amphitheatre

Red Rocks Amphitheatre

Silva Hall, Hult Center

Silva Hall, Hult Center

Silva Hall, Hult Center

Providence Civic Center

Providence Civic Center

Veterans Memorial Coliseum

Veterans Memorial Coliseum

Philadelphia Civic Arena

Philadelphia, PA, USA

Philadelphia Civic Arena

Philadelphia, PA, USA

Philadelphia Civic Arena

Philadelphia, PA, USA

Niagara Falls Convention Center

Niagara Falls, NY, USA

Community War Memorial Auditorium

gd1984-04-17.137250.sbd.miller.flac1648

Carrier Dome, Syracuse U

Sources

Transferrer: Charlie Miller

SBD > Cassette Master > Reel > Dat (Panasonic SV-3800/48k)

Dat (Sony R500) > Tascam DA-3000 >Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/

Rob Eaton, Scott Clugston, Charlie Miller

View NotesNotes:
-- Thanks to Rob Eaton for the Dats
-- Thanks to Joe B. Jones for his help with the pitch correction

Taper: Rob Eaton

gd1984-04-17.164733.neumann.u87.eaton.miller.clugston.flac2496

Rob Eaton's Master (FOB) Audience Cassettes; Neumann U87 mics (split 30' apart) > Sony D5M

Master Cassettes (Nakamichi Dragon) > ProTools 12 > .wav 24/96 > Adobe Audition CC 2022 > TLH flac2496

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 the transfer and coordinating this effort
- Thanks to Doug Lamarre for the Sennheiser 441 source which supplies 2:54 and 3:17 patches in "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2022

Taper: Rob Eaton

gd1984-04-17.164732.neumann.u87.eaton.miller.clugston.flac1648

Rob Eaton's Master (FOB) Audience Cassettes; Neumann U87 mics (split 30' apart) > Sony D5M

Master Cassettes (Nakamichi Dragon) > ProTools 12 > .wav 24/96 > Adobe Audition CC 2022 > TLH flac2496

Scott Clugston and Charlie Miller

View NotesNotes:
- Thanks to Rob Eaton for the recording, as well as the transfer and harddrive
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Doug Lamarre for the Sennheiser 441 source which supplies 2:54 and 3:17 patches in "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2022

Taper: Doug Lamarre

gd1984-04-17.154530.fob.senn441.lamarre.miller.clugston.flac2496

Doug Lamarre's Master (FOB) Audience Cassettes; Sennheiser 441 mics > Sony D5M

Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2022 > TLH flac2496

Scott Clugston and Charlie Miller

View NotesNotes:
- Thanks to Doug Lamarre for the master (FOB) cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Rob Eaton for the Neumann U87 source which supplies some crowd and first few notes of "Jack Straw" (0:12 total), as well as a 7:53 patch in "Drums"
- Pitch Corrected

Mastered by Scott Clugston
October 2021

Taper: Doug Lamarre

gd1984-04-17.154529.fob.senn441.lamarre.miller.clugston.flac1648

Doug Lamarre's Master (FOB) Audience Cassettes; Sennheiser 441 mics > Sony D5M

Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2022 > TLH flac2496

Joe Noel and Charlie Miller

View NotesNotes:
- Thanks to Doug Lamarre for the master (FOB) cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Rob Eaton for the Neumann U87 source which supplies some crowd and first few notes of "Jack Straw" (0:12 total), as well as a 7:53 patch in "Drums"
- Pitch Corrected

Mastered by Scott Clugston
October 2021

Taper: Ray Ackerman

gd1984-04-17.145264.nak.senn..blend.ackerman.miller.noel.t-flac1644

Master Audience Recording & Transfer by Ray Ackerman; 2 x Nakamichi CM300/CP4 + 2 x Sennheiser 421 blend > Yamaha mixer > Sony D5 > Sony D6

Transfer info; Master Cassettes (Nakamichi 700 MKii)> Oade modified Grace Design Lunatec V3 > M-Audio MicroTrack II > WAV 24/96

Charlie Miller and Joe Noel

View NotesEdited & Mastered by Joe Noel:
WAV > Audacity > FLAC 24/96
April 29, 2018

This file set is 16 bit @ 44.1

Patch info
- shnid 90543 (Neumann U87) supplies
- s1t06; 07:10 - end
- s1t07; start - 00:08
- s2t08; 01:04 - 01:21
- s2t12; 06:36 - 07:18

Notes:
- Thanks to Ray for his generosity
- Thanks to Charlie for aiding & abetting
- Thanks to Rob Eaton for suppling the patch source
- Grateful for Jerry Garcia's interpretation of Slipknot!
- tapes pauses cross faded

Taper: Ray Ackerman

gd1984-04-17.141837.NAK.Blend.Ackerman.Miller.Noel.t-flac2496

Master Audience Recording & Transfer by Ray Ackerman; 2 x Nakamichi CM300/CP4 + 2 x Sennheiser 421 blend > Yamaha mixer > Sony D5 > Sony D6; Transfer info: Master Cassettes (Nakamichi 700 MKii)> Oade modified Grace Design Lunatec V3 > M-Audio MicroTrack II > WAV 24/96

Charlie Miller, Scott Clugston

View NotesPatch info 
- shnid 90543 (Neumann U87) supplies
- s1t06; 07:10 - end
- s1t07; start - 00:08
- s2t08; 01:04 - 01:21
- s2t12; 06:36 - 07:18

Notes:
- Thanks to Ray for his generosity
- Thanks to Charlie for aiding & abetting
- Thanks to Rob Eaton for suppling the patch source
- Grateful for Jerry Garcia's interpretation of Slipknot!
- tapes pauses cross faded

Taper: Oade, Robert Bryant

gd1984-04-17.139330.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

Charlie Miller, Scott Clugston

View NotesNotes:
-- Recorded By Robert Bryant (patched out of the Oade brothers)
-- Thanks to Joe B. Jones for his help with the pitch correction
-- Smoothed several between song transitions. Some are rather abrupt
-- Tape flip in "Drums" smoothed and is transparent

Transfer by Charlie Miller
Mastered by Scott Clugston
September 13, 2017

Taper: Oade, Robert Bryant

gd1984-04-17.139329.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

gd1984-04-17.neumann-u87.eaton.miller.90543.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
-- Smoothed several between song transitions, some are rather abrupt
-- Tape flip in "Drums" smoothed and is transparent

Transfer by Charlie Miller
Mastered by Scott Clugston
September 13, 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 NotesPatch Info:
(FOB) Sennheiser 441 -> Cassette Master -> Dat -> Samplitude -> CD supplies:
Drums (0:05 - end of track)

-- Set 2 is seamless
-- Recorded By Rob Eaton

Source 11 of 33

2:41:21

gd1984-04-17.173413.mtx.seamons.ht179.flac1644

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) August 17, 2025

View NotesNotes:

Ray Ackerman pretty much saved this matrix project. We tried mixing several other AUD sources as tests (before ultimately using Ray's tape), and they all had a subtle but pretty frequent slurry effect in the high end cymbals that was greatly accentuated when mixing. The matrix wasn't sounding crispy with these AUD sources. It appears something funky was going on with the acoustics and affecting the audience recordings - except for Ray's tape for some reason. We couldn't detect the faint "slurry effect" in his tape, and sure enough there was no high end friction when matrixing his source with the SBD. Very interesting.

We were about to shelve this project after testing the first "incompatible" AUDs, but then Ray messaged us that same day out of the blue and mentioned that while his recording sounded "pretty darn good," Rob Eaton's U87 source was the one to pick (dewey72 suggested the Gordon Sharpless tape as well as an option). This prompted us to take a closer look at Ray's source anyhow, and we were surprised to discover that it didn't have the weird high end issues. While not our top choice sound-wise, we ended up really liking the subtle but significant effect it was having on the matrix - yet another example of a "lesser quality" AUD being more complementary and nicer when mixing. Thanks again, Ray!

A very loud sound effect burst was reduced at the beginning of Ramble On Rose.

Gordon Sharpless's Neumann U-87 source, #86942, transfer by David Minches (8/26/07), was used for the 2:52 SBD patch in Franklin's Tower. It also patches a 17-second cut in Ackerman's AUD towards the end of Eyes Of The World.

A hiccup glitch in the SBD source during Drums was repaired. A 5-second cut in Space is now patched.

Shortly after a patch edit (or two?) in a brief section during the NFA outro in Ackerman's AUD source (not noted in text file it appears) - with some unusual shiftiness that we were still able to stretch and shift back into alignment - there was also a 6-second cut in Ackerman's AUD that was patched with Sharpless's source at higher volume and with longer fades. This provided some more up-close NFA chants here at the end of the song as an interesting change in aural perspective.

Light EQ was used for the SBD source only as needed. Most of set 2 had no EQ.

Taper: Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

2:37:59

Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

gd1984-04-17.149495.beyerm201.holbrook.flac2448

MAUD CA: Beyer M201's XY 90' (hypercardioid) 50 feet from stage DFC >Sony TCD5M > TDK MA 90s No Dolby - Master copy from lead deck run by KH.

View Notes// tape flip
* Beer Barrell Polka tuning

Taper: Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

2:37:59

Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

gd1984-04-17.149494.beyerm201.holbrook.flac1644

MAUD CA: Beyer M201's XY 90' (hypercardioid) 50 feet from stage DFC >Sony TCD5M > TDK MA 90s No Dolby - Master copy from lead deck run by KH.

View Notes// tape flip
* Beer Barrell Polka tuning

Taper: Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

2:37:28

Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

gd1984-04-17.149173.mke2002.holbrook.flac2448

MAUD CA: Sennheiser MKE2002 Binaurals mounted on dummy head 60-65 feet from stage DFC >Sony TCD5M > TDK MA 90s No Dolby - Master copy from lead deck run by CK.

View Notes// tape flip
* Beer Barrell Polka tuning

***The Sennheiser MKE2002 binaural microphones were pressure gradient "omni" type capsules designed to be worn on a human head or the supplied dummy head. For the optimal listening experience wear headphones or earbuds; for playback on stereo speakers you may choose to increase bass slightly.***

Taper: Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

2:37:28

Executive Crew: Chris Kidwell; Sean Murtha; Tom Pinney; Kyle Holbrook; Mike Yacavone; Olvy Johnson

gd1984-04-17.149172.mke2002.holbrook.flac1644

MAUD CA: Sennheiser MKE2002 Binaurals mounted on dummy head 60-65 feet from stage DFC >Sony TCD5M > TDK MA 90s No Dolby - Master copy from lead deck run by CK.

View Notes// tape flip
* Beer Barrell Polka tuning

***The Sennheiser MKE2002 binaural microphones were pressure gradient "omni" type capsules designed to be worn on a human head or the supplied dummy head. For the optimal listening experience wear headphones or earbuds; for playback on stereo speakers you may choose to increase bass slightly.***

Taper: david barfield and david lane

2:27:19

david barfield and david lane

david barfield

gd1984-04-17.145332.nak300.barfield.lane.t-flac16

ots 12’ > nak 300 > tcd5m > master = tdk ma90 +dolby > master via tascam 122 mk ii > apogee rosetta 200 > (24/96) > audacity (normalize, tracks, fades)

Taper: david barfield + david lane

2:27:20

david barfield + david lane

david barfield

gd1984-04-17.140463.ma90.flac2496

source: ots 12’ > nak 300 > tcd5m > master = tdk ma90 +dolby > master via tascam 122 mk ii > apogee rosetta 200 > (24/96) > audacity (normalize, tracks, fades) > xact (tags, ffp, md5); recorded: david barfield + david lane; transfer-seeded: barfield

Taper: Steve Hill

gd1984-04-17.133028.Nak100CP4.Hill.Keo.Flac2496

Master Audience Recorded By Steve Hill, Transfer By Keo; Nakamichi CM100/CP4 Shotguns > Sony D5 > Tapes:Maxell UDXLII 90's; Tapes Labelled:Nakamichi 100 Guns - Tony; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion/Flacked With AudioGate V.3.0.2 To 24/96 kHz; Metadata Tagging With Tag&Rename

gd1984-04-17.133027.Nak100CP4.Hill.Keo.Flac1644

View Notes* Drums Patch Info - Drums 0:22 > 1:06, ID-123129 Drums 1:06 > 9:40,
    the rest used from shnid # 127261 in 24/48.Shnid # 123129 used
     for the first minute or so of Space in 24/96. *

 Comments:Another Huge Thanks out to Steve 
for recording and sharing his source for this 
show!Some tape pauses/blank spots between first 
set songs,one short 5 second loss of music in 
"Eyes Of The World" near the end of song.All of 
"Drums" patched with and the first minute or so 
of "Space" patched, may be some overlapping or a
short section missing.All and all an excellent
share from the Hill collection of masters and 
the Grateful Dead's Spring 1984 Tour!!
AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!!!!

Taper: Steve Hill

Master Audience Recorded By Steve Hill, Transfer By Keo; Nakamichi CM100/CP4 Shotguns > Sony D5 > Tapes:Maxell UDXLII 90's; Tapes Labelled:Nakamichi 100 Guns - Tony; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion With AudioGate V.3.0.2 To 32/96 kHz Wave; Dithered/Flacked With Korg Aqua To 16/44; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename

View Notes* Drums Patch Info - Drums 0:22 > 1:06, ID-123129 Drums 1:06 > 9:40,
    the rest used from shnid # 127261 in 24/48.Shnid # 123129 used
     for the first minute or so of Space in 24/96. *

 Comments:Another Huge Thanks out to Steve 
for recording and sharing his source for this 
show!Some tape pauses/blank spots between first 
set songs,one short 5 second loss of music in 
"Eyes Of The World" near the end of song.All of 
"Drums" patched with and the first minute or so 
of "Space" patched, may be some overlapping or a
short section missing.All and all an excellent
share from the Hill collection of masters and 
the Grateful Dead's Spring 1984 Tour!!
AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!!!!

Taper: Tim Friend and Joe Morrone

2:39:59

Tim Friend and Joe Morrone

Andrew F.

gd1984-04-17.nak300.friend-morrone.127261.flac1644

AUD: 3x Nakamichi CM300 w/CP4 shotguns > Nakamichi 550 > Maxell XLIIS, floor to the left of the soundboard, taped by Tim Friend & Joe Morrone.

MAC > Nakamichi CR5A > Edirol FA-66 > Wavelab 2448 > R8Brain > CD-Wave > TLH > FLAC 1644 tagged. Transfer by Andrew F. 03/2014

View NotesNote: A few patches in this one... ID-32709 LLR 0:00 > 0:09, ID-113881 
Drums 0:22 > 1:06, ID-123129 Drums 1:06 > 9:40, and Touch 0:00 > 0:16.

CDR Burning: D1= s1t01 > s1t09, D2= s2t01 > s2t06, D3= s2t07 > s2t11.

Taper: Tim Friend and Joe Morrone

2:39:59

Tim Friend and Joe Morrone

Andrew F.

gd1984-04-17.nak300.friend-morrone.127260.flac2448

AUD: 3x Nakamichi CM300 w/CP4 shotguns > Nakamichi 550 > Maxell XLIIS, floor to the left of the soundboard, taped by Tim Friend & Joe Morrone.

MAC > Nakamichi CR5A > Edirol FA-66 > Wavelab 2448 > CD-Wave (24-bit output) > TLH > FLAC 2448 tagged. Transfer by Andrew F. 03/2014

gd1984-04-17.123129.chasingwilma.flac24

View NotesNote: A few patches in this one... ID-32709 LLR 0:00 > 0:09, ID-113881 
Drums 0:22 > 1:06, ID-123129 Drums 1:06 > 9:40, and Touch 0:00 > 0:16.

Taper: chasingwilma

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

Taper: Bob Morris

gd1984-04-17.nak300.morris.113881.flac24

Nakamichi CM-300 (CP-1) x2 > Cassette Master (Sony TCD5M/Maxell UDXLI C-90) Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 24-bit/96KHz) > Soundforge 9.0 (edits) > flac24

Taper: Da Weez

gd1984-04-17.109346.beyer-senn.daweez.D5scott.flac16

source: 2 Beyer M160 and 1 Sennheiser 421 Microphones (way up front) > Nak MX100 w/2001 > Sony TCD5M (Dolby on) - analog master cassettes;

Sony TCD5M (original record deck - Dolby on) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac and ffp files

Taper: Bob Morris

gd1984-04-17.aud.morris.107548.sbeok.flac16

Nakamichi CM-300 (CP-1) x2 > Cassette Master (Sony TCD5M/Maxell UDXLI C-90) Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 16-bit/44.1KHz) > cdwav (edits); Recorded by Bob Morris

Transferrer: JTJames

gd1984-04-17.fob.at-nak300.jtjames.96460.flac16

ATII/Nak 300 FOB > ?

?>CDR>EAC>SHN > ? > FLAC

gd1984-04-17.neumannu87.sharpless.minches.86942.sbeok.flac16

View NotesNo further lineage info available other than aud>?>CDR>EAC>SHN by [email protected]

There were numerous cuts in the tape (between every song in the first set, plus tape flips in the second).  These were crossfaded or, in a few cases, audience noise was flown in from another part of the show to replace the missing time where a smooth crossfade could not be accomplished due to lack of adequate material.  The entire show was hard limited to 7 dB.  No further alterations such as EQ or NR were made.  There are a couple places, particularly in Drums wher ethe mics were overloaded by a large amount of bass from the PA. There are also a couple digital flaws (a buzz, kind of a lightsaber type sound) that could not be removed.

Taper: Gordon Sharpless

Master Audience Cassette; 2 Neumann U-87s> Nakamichi 550> Sony D5

Nakamichi Dragon > Grace Lunatec V3> Digital Audio Labs Card Deluxe soundcard > Adobe Audition > flac encoding > FLAC

Taper: Mark McCue

gd1984-04-17.fob.mccue.ford.79670.sbeok.flac16

(FOB) MAC: 3 Beyer mics > Sony D5 > Teac mdx 90s

MAC>Nakamichi CD2 [azimuth adjusted]>rca/xlr>Lunatec V3>coax>Audiophile 2496>CEP 2.0>CDWav >Traders Little Helper>FLAC16

View Notes- d1t07 My Brother Esau dropout patched , d2t06 Eyes Of The World tape flip joined, d3t06 Touch Of Grey added (missing from recording)
- d1t08 Ramble On Rose (tape garbled at very end)
- all patches were taken from shn id# 79556 - http://db.etree.org/shn/79556
- sector boundary errors fixed & verified with Trader's Little Helper

Source 29 of 33

2:39:12

FOB: Audio Technica + 2 Nakamichi 300s/cp4s > Sony D5 > DAT > CDR > EAC (no errors) > CDWAV > TLH > FLAC16

gd1984-04-17.senn441.koucky.ladner.32708.sbeok.flac16

View NotesThis could very well be a different transfer of shnid=8460

Taper: Bill Koucky

FOB Sennheiser 441 > Sony D5 > MAC > Nakamichi BX-100 > Panasonic SV3700 DAT > Tascam CD-RW > MCDs > (EAC)WAV > FLAC > WAV > Wavelab > Waves L3 > WAV > FLAC

Source 31 of 33

2:28:38

2 Beyer M160 > Sony TCD5M Master Cassette FOB > SHN

gd84-04-17.nak.james.8460.sbeok.shnf

View Notes- Between tune crowd edited out from master
- Drumz edited out from master

Source 32 of 33

FOB Nak 300>?>CDR

gd1984-04-17.177211.senn.421.strizak.flac2448

View NotesFOB Nak 300>?>CDR; Seeded to etree by JT James

Taper: Tom Strizak

Tom Strizak Master Audience Cassettes (2-Maxell-MX90’s / Dolby OFF). Sony TC-D5M stereo recorder patched 3nd in line *Special Thanks to Ed Schenk TC-D5M recorder. Microphones: (2) Senn. 421’s at 6’ height. Location: Approx. 65’ from stage at L of center audience FOB.

Analog Master Cassette’s > playback on Nakamichi CR-1A > Behringer XR-18 audio mixer > Reaper v7.61 *DAW (for final audio editing and mastering to 24/48 FLAC > Audacity *DAW (for track labeling into file set = 1 stereo file for each song). (*DAW = Digital Audio Workstation)