RELISTENTOTHE Grateful Dead
Re
1984
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Bands
Grateful Dead
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Today In History
June 16th
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
1984
10/5/84
crowd/tuning
0:27
Bertha >
6:25
The Promised Land
5:08
West L.A. Fadeaway
7:48
Little Red Rooster
10:47
Dupree's Diamond Blues
7:11
My Brother Esau
4:59
Brown Eyed Women
9:09
Feel Like A Stranger
11:04
Might As Well
4:49
tuning
0:27
China Cat Sunflower >
7:14
I Know You Rider
7:33
Estimated Prophet >
11:31
Eyes Of The World >
12:42
Drums >
9:39
Space >
7:21
The Other One >
9:33
Black Peter >
11:06
Sugar Magnolia * >
6:27
Johnny B. Goode
4:41
It's All Over Now, Baby Blue
7:04
FIN
View on archive.org
Sources
Transferrer: Matrix by Dave Usborne
2:45:21
SBD
Rating:
7.67 / 6 ratings
Transferrer:
Matrix by Dave Usborne
SHNID:
gd1984-10-05.133026.mtx.dusborne.flac16
Source:
2 Source Matrix by Dusborne; Soundboard (shnid:02591) SBD> MC> Cass> DATs> CDRs> SHN and Audience (shnid:109982) 2 Beyer M160's & 1 Sennheiser 421 Microphones > Nak MX100 w/2001 > Sony TC-D5M (Dolby on) Sony TC-D5M (original record deck - Dolby on) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac and ffp files
Taper Notes:
View NotesMatrix by dusborne 05-08-2015 ------------------------------------------------------------------------------------------- Tagging notes: Show information is embedded within the header of each flac file. It will display on any player capable of directly playing flac files. If converted to wav during processing, all tags will be stripped, however audio data will remain unaffected. If you must transcode to a lossy format, do so directly Flac > Lossy. Use ffp to validate audio integrity. Md5 values will change if tagging is altered. Dave Usborne 05-08-2015
Taper: Doug Oade
1:03:13
SBD
Rating:
6.00 / 1 rating
Taper:
Doug Oade
Transferrer:
Dave Usborne
SHNID:
gd1984-10-05.127551.set1.schoeps.oade.BCE.flac1648
Source:
<b>flac16/48kHz</b>; Set 1 Source from Doug Oade: 90 degree, 17cm Schoeps CMC441s at Sbd into an Oade power supply then a modified Sony TCD-D5M then > Sony PCM-F1 > DAW (via SEKD Prodif) > Wav; Mastering by Dave Usborne: Izotpoe RX Advanced Declick and Spectral Repair used manually to fix pops and digital artifacts. Editing done in Reaper V4.591/X64; Tracks cut in Audacity 2.0.5; Flac files created in Traders Little Helper
Taper Notes:
View NotesMastering by Dave Usborne: Izotpoe RX Advanced Declick and Spectral Repair used manually to fix pops and digital artifacts. Editing done in Reaper V4.591/X64 Tracks cut in Audacity 2.0.5 Flac files created in Traders Little Helper metadata added To maintain the full sonic integrity of this recording, files remain at a sample rate of 48 kHz. Thanks to Doug Oade & Jim Wise for making this beautiful recording available. BCE Collaboration [email protected]
Taper: Michael Hessberg
2:37:27
Taper:
Michael Hessberg
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1984-10-05.148396.fob.senn.me80.hessberg.miller.clugston.flac2496
Source:
Michael Hessberg's Master (FOB) Audience Cassettes; Sennheiser ME80 mics > Sony D5M
Lineage:
Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Michael Hessberg for the master recording - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to the folks responsible for the shnid87757 (FOB) Nakamichi 300 source which supplies a 0:18 patch in the "Brown eyed Women", as well as a 2:22 patch in "Drums" - Thanks to Mike Grace for the shnid15528 (FOB) Nakamichi 300 source which supplies a 3:08 patch in "Drums" - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston November 2019
Taper: Michael Hessberg
2:37:27
Taper:
Michael Hessberg
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1984-10-05.148395.fob.senn.me80.hessberg.miller.clugston.flac1648
Source:
Michael Hessberg's Master (FOB) Audience Cassettes; Sennheiser ME80 mics > Sony D5M
Lineage:
Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Michael Hessberg for the master recording - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to the folks responsible for the shnid87757 (FOB) Nakamichi 300 source which supplies a 0:18 patch in the "Brown eyed Women", as well as a 2:22 patch in "Drums" - Thanks to Mike Grace for the shnid15528 (FOB) Nakamichi 300 source which supplies a 3:08 patch in "Drums" - Other One space included in "The Other One" - Pitch corrected Mastered by Scott Clugston November 2019
Transferrer: Recorded, Transferred & Mastered by Anon Edited with add'l Mastering in Adobe Audition by Joe Noel May 29, 2022
2:42:56
Transferrer:
Recorded, Transferred & Mastered by Anon Edited with add'l Mastering in Adobe Audition by Joe Noel May 29, 2022
SHNID:
gd1984-10-05.158246.FOB.NAK100-SG.Anon-Noel.t-flac2448
Source:
(FOB) Nakamichi 100 shotguns > Sony TC-D5M > Master Cassette (TDK MA90s, Dolby B On) Location: approx. 40' from stage, mics spaced 3' apart on two Shure s15 stands (up high)
Lineage:
Master Cassette > Nakamichi CR7a playback with no dolby> Korg mr2000 (1 bit, 5.6 Mhz). Render from 1 bit to 24 48 wave file using AudioGate. Pre dolby nr decode eq & software dolby B decode using Nuendo & DDICodec.
Taper Notes:
View NotesNotes; - dolby b decoded - There's a crackle in the pa, most notable during LRR. - The tape pauses, where applicable, were cross faded. - This source has been pitch corrected. - Space contains a Spanish Jam - They did not play Sunshine Daydream. Thanks; - to Anon while hiding out away from the Bay Area for sharing this master cassette & transfer. - Michael Hessberg et al for the patch source.
Transferrer: Recorded, Transferred & Mastered by Anon Edited with add'l Mastering in Adobe Audition by Joe Noel May 29, 2022
2:42:57
Transferrer:
Recorded, Transferred & Mastered by Anon Edited with add'l Mastering in Adobe Audition by Joe Noel May 29, 2022
SHNID:
gd1984-10-05.158245.FOB.NAK100-SG.Anon-Noel.t-flac16
Source:
(FOB) Nakamichi 100 shotguns > Sony TC-D5M > Master Cassette (TDK MA90s, Dolby B On) Location: approx. 40' from stage, mics spaced 3' apart on two Shure s15 stands (up high)
Lineage:
Master Cassette > Nakamichi CR7a playback with no dolby> Korg mr2000 (1 bit, 5.6 Mhz). Render from 1 bit to 24 48 wave file using AudioGate. Pre dolby nr decode eq & software dolby B decode using Nuendo & DDICodec.
Taper Notes:
View NotesNotes; - dithered using dBpoweramp - dolby b decoded - There's a crackle in the pa, most notable during LRR. - The tape pauses, where applicable, were cross faded. - This source has been pitch corrected. - Space contains a Spanish Jam - They did not play Sunshine Daydream. Thanks; - to Anon while hiding out away from the Bay Area for sharing this master cassette & transfer. - Michael Hessberg et al for the patch source.
Taper: Steve Hill
2:36:29
Taper:
Steve Hill
Transferrer:
Keo
SHNID:
gd1984-10-05.132575.Nak100CP4.Hill.Keo.Flac2496
Source:
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 - Sandy; 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
Taper Notes:
View NotesComments:Another Huge Thanks out to Steve for recording and sharing his source for this show!Some tape pauses between first set songs and some left channel loss of music in Brown Eyed Women, Feel Like A Stranger And Might As Well.Even though some problems in the first set the second set shines and another excellent share from the Hill collection of master audience rcordings and the Grateful Dead's Fall 1984 Tour!!!!! AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!
Taper: Steve Hill
2:36:29
Taper:
Steve Hill
Transferrer:
Keo
SHNID:
gd1984-10-05.132574.Nak100CP4.Hill.Keo.Flac1644
Source:
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 - Sandy; 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
Taper Notes:
View NotesComments:Another Huge Thanks out to Steve for recording and sharing his source for this show!Some tape pauses between first set songs and some left channel loss of music in Brown Eyed Women, Feel Like A Stranger And Might As Well.Even though some problems in the first set the second set shines and another excellent share from the Hill collection of master audience rcordings and the Grateful Dead's Fall 1984 Tour!!!!! AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!
Taper: Da Weez
2:37:51
Taper:
Da Weez
Transferrer:
D5scott
SHNID:
gd1984-10-05.109982.beyer-senn-daweez.D5scott.flac16
Source:
source: 2 Beyer M160's & 1 Sennheiser 421 Microphones > Nak MX100 w/2001 > Sony TC-D5M (Dolby on) - analog master cassettes;
Lineage:
Sony TC-D5M (original record deck - Dolby on) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac and ffp files
Taper Notes:
View NotesThere was no Sunshine Daydream. ----------------------------------------------------------------------------------------------------------------------------------------------------------------- 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! -----------------------------------------------------------------------------------------------------------------------------------------------------------------
Transferrer: Jamie Waddell
2:38:12
Rating:
7.67 / 6 ratings
Transferrer:
Jamie Waddell
SHNID:
gd1984-10-05.nak300.holtz.gems.87757.sbeok.flac16
Source:
Nakamichi CM-300 Microphones with CP-4 Shotgun capsules>Sony WM-D6 cassette tape deck.
Taper Notes:
View Notes2007 recollection: This is gonna be a long-winded story, so proceed at your own peril.... Charlotte 10/5/84 was the first show of the Fall East Coast Tour that year. I am not sure if it was the first time that GDTS offered it, but we bought via mail order two "tour books" of tickets...two tickets for each of the 11 shows on the tour. There had not been an "official" taper section yet, so "taper tickets" had not yet been issued as such. In any event, we got mostly FOB seats for the whole tour, and some shows were general admission. Charlotte was stop number one.....we drove down from Indiana with a fully loaded car packing every provision we would need to do the tour. We had with us my buddy Danny's Nakamichi CM-300 mics with the CP-4 shotgun capsules, and a couple of Sony D-6 tape decks. One of them was pretty much brand new, purchased in LA right before the Ventura shows, and one had seen most of the shows on the '84 summer tour. In Charlotte, it seemed that the security at the door was a bit tight, so we snuck in the gear. We had a pair of crutches with us, and my buddy Mike Rice (RIP) walked in using those, and he had the mics and shotguns taped to his leg. My buddy Tony and I carried in the decks, tapes, batteries, etc. We had somehow forgotten to bring a microphone stand on tour, so we took the two crutches, attached them bottom to bottom, to create a 9 or 10 foot tall inverted crutch. We had a couple of gooseneck mic holders, so we duct taped them to the top of the crutch rig and hoisted it up. It was quite a sight. So folks started to come up to us asking for patches into the rig. One of those guys was in a wheelchair. Well, we needed a way to stabilize our improvised mic stand, so we duct taped the crutch rig to this guy's wheelchair, and it worked great. We proceeded to patch in about 9 decks in all, every single one of them Sony D-6 tape decks. I recall that as we were checking all the connections, we discovered a problem with deck number two in the chain, it was not passing a good signal down the line, so that deck was relegated to the back of the line. That was the brand new deck. Ends up it had a cracked circuit board that was damaged unbeknownst to us at a Roger Waters show we taped in Chicago on the way home from Ventura....that is a story unto itself. Back to Charlotte... I recall that this was a general admission show, no seats on the floor. Throughout the area where tapers were setting up, there were several nice old lady ushers walking around with six foot tall poles, and they were asking all the tapers to hoist their rigs no more than 6 feet up. Well, this nice woman came to our rig and we had to explain to her that there was no way to adjust the height of our crutches. So I shouted back to Healy asking him if our rig was OK, and he gave the thumbs up, so the nice lady walked on. We all busted up laughing at that. Anyway, we were set up about half-way between the stage and the soundboard, in a very advantageous spot, a bit right of center. The house lights went down, we fired up all the decks, and we were off to the races. Bertha opened the set at a very good clip, and we were on our way. There were some PA crackles near the beginning of the show, but nothing too distracting. The sound in that Coliseum was just awesome. The Bertha opener was great, Promised Land delivered with its inclusion of the "Stopped in Charlotte" line for the hometown crowd, and the set was off to a great start. Listen for a loud searing metal noise near the beginning of West L.A. Fadeaway, it'll make you cringe....and some haunting Hammond Organ lines from Brent. Without giving you a blow by blow account of the set, this first set was noteworty in every respect, with a great song selection (Duprees, Stranger in the middle of the set, Brown-Eyed Women, etc.), and incredible musicianship...hell, it is safe to say that the entire evening was simply fabulous. China/Rider opened the second set, and it was a real piece of work. Just as good as it gets.....and the Estimated, well, just give it a listen. I do not recall being at a show where this one was played with such wild sounds. Listen to the Brent/Jerry combo sounds in that middle crescendo...Majestic...completely wiggin out. The Eyes dissolved out of that cohesiveness into an entirely new direction. Drums was a gas, Space was all about and into the Other One, Black Peter was plaintive. Then, listen to jerry noodling a fast intro to Sugar Mag....Bob proceeded to bring it down and re-start it with his preferred slower tempo. Hilarious. No Sunshine Daydream as Jerry fired right into Johnny B. Goode. Chuck Berry woulda been proud. In the end, Bably Blue was simply beautiful. This show blew our minds, and we were sufficiently zapped, wondering how we were gonna survive 10 more shows. Never had such a good time..... Oh yeah, we bought a microphone stand in Richmond before the next show. Anyway, this recording, Charlotte, North Carolina, October 5, 1984, was mastered on the lead deck in our chain that night. Enjoy. Greg Holtz Bloomington, Indiana October 16, 2007