Good Time Blues > | 1984-04-26 | Grateful Dead

2:59:06
Rating:
9.33 / 3 ratings
Taper:
See Notes
Transferrer:
Hunter Seamons
SHNID:
gd1984-04-26.mtx.seamons.fix.92297.sbeok.flac16
Source:
See Notes
Lineage:
See Notes
Taper Notes:
View NotesMATRIX MIX: SBD/2 AUD (About 60%/40%)

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SBD:

SBD -> Cassette Master -> Cassette -> Dat -> CD

Transfer Info:
CD -> Adobe Audition v1.5 -> Samplitude Professional v10.02 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

All Transfers and Mastering By Charlie Miller
[email protected]
April 17, 2008

Notes:
-- Set 2 is seamless [see notes below]
-- Thanks to Joe B. Jones for his help with the pitch correction

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AUDs:

Set I - 1st Gen; Sennheiser MKE 2002 (binaural, head worn) > Sony D5 > Sony D5 > Maxell XLII-S (no Dolby)

Set II - MAC; Beyer M201s (hyper cards, X-Y) > Sony TC D5M > TDK MA90 (no Dolby)

Location: FOB, 40 feet from the stage, almost center.

Tapers: Sennheiser MKE 2002s - Chris K./ Beyer M201s - Kyle H.

Transfer: Nakamichi CD2 [azimuth adjusted]>Kind Kables rca>xlr>Lunatec V3>coax>Audiophile 24960>
CEP 2.0 (normalized_100%)>CD Wave Editor>Traders Little Helper>FLAC16.

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Matrix by Hunter Seamons using Final Cut Pro (FLAC>AIFF>Final Cut>Soundtrack>WAV>SHN)
May 10, 2008  Remastered June 14, 2008.

Notes:
1) There is occasional, light static in the SBD.

2) The Set II AUD is better quality than the Set I AUD - and there's more crowd action in Set II due to the microphone placement.

3) While there is more 'distance' from the crowd in the AUDs than usual, these sources do provide a complementary indoor ambience for the typically 'studio' sounding SBDs of the mid-80's. The SBD alone is pretty 'flat.'

4) There was a Neumann patch for the first 5 minutes of Shakedown in the AUD source that I did not use because it was scratchy and not as nice as I would have liked, so the matrix begins after five minutes into Shakedown.

5) There are gaps in the Set I AUD between songs (when the band takes time to tune), so there is less crowd banter with this matrix, unfortunately. The music should make up for this.

6) Some interesting notes about the SBD source, which apparently was seamless for Set II (as noted by Charlie): (1) There was a 'seamless' cut/edit in Fire on the Mountain, because the AUD version was about twenty seconds longer with more 'Fire! Fire on the mountain!' verses toward the end. I favored the AUD source alone for an extra ten seconds (10:55-11:25) because the SBD was scratchy around that point as well. (2) And while Fire was shorter in the SBD than the actual performance, a section of Eyes toward the end of the song was actually repeated (in the source), making it about a minute and a half longer than it really was. This is not the first time I have encountered such an oddity in a recording. That strangeness was edited out. With all this in mind, SET II should now be seamless in terms of performance.

7) Cuts in the AUD during songs are:
Shakedown Street (0:00-5:01)
Supplication (1:31-1:58)
Estimated Prophet (11:18-12:14)

Cuts in the SBD during songs are:
Fire on the Mountain (10:55-11:25)
Eyes Of The World (4:35-4:41)
Space (5:31-5:50)
Not Fade Away (4:22 to end of track)
It's All Over Now, Baby Blue (entire track)

8) This show is extra hot all around from an extra hot month in '84 - one of my favorite Dead zones. Great Space>Dew!


Remastering Notes (06/14/08)

1) Lots of static was removed, or reduced, using Soundtrack Pro, and a bunch of clicks and pops - this involved visually combing through the waveform for anomalies, and some some other techniques. 

2) The right channel of the AUD source gradually decreases about 7 dB during Throwing Stones into Not Fade Away, until only the AUD plays in NFA. This was adjusted. (Charlie Miller had fixed this issue in the patched source in the SBD [where it is more noticeable], so I matched this correction for the earlier portion of the AUD now used for the matrix.)

3) Portions of Supplication, Deal, Scarlet Begonias, and Fire on the Mountain were re-synced.