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Today In History
June 8th
Years
1995
30k
PlaybackListensHours
48h51067
7d11.4k1.6k
30d30k4.2k
49 shows
341 tapes
1994
8.5k
PlaybackListensHours
48h951123
7d1.6k231
30d8.5k1.2k
85 shows
460 tapes
1993
37.6k
PlaybackListensHours
48h2.6k335
7d8k1.1k
30d37.6k5k
83 shows
656 tapes
1992
35.2k
PlaybackListensHours
48h2.2k275
7d4.1k528
30d35.2k4.7k
57 shows
539 tapes
1991
40.6k
PlaybackListensHours
48h6.7k920
7d9k1.2k
30d40.6k5.5k
78 shows
972 tapes
1990
35.2k
PlaybackListensHours
48h4.2k528
7d6.9k905
30d35.2k4.6k
78 shows
1,139 tapes
1989
47.5k
PlaybackListensHours
48h2.8k345
7d8.7k1.1k
30d47.5k5.9k
78 shows
1,013 tapes
1988
21.6k
PlaybackListensHours
48h1.2k133
7d3.6k417
30d21.6k2.5k
82 shows
882 tapes
1987
37.5k
PlaybackListensHours
48h1.9k208
7d7.5k801
30d37.5k4.1k
88 shows
1,025 tapes
1986
15.2k
PlaybackListensHours
48h72180
7d2.3k260
30d15.2k1.7k
47 shows
683 tapes
1985
21.7k
PlaybackListensHours
48h1.4k168
7d4.9k577
30d21.7k2.6k
73 shows
1,356 tapes
1984
15.8k
PlaybackListensHours
48h935122
7d3.4k441
30d15.8k2k
67 shows
1,075 tapes
1983
33.3k
PlaybackListensHours
48h1.4k187
7d4.1k529
30d33.3k4.4k
71 shows
1,069 tapes
1982
41.7k
PlaybackListensHours
48h1.6k192
7d4.4k548
30d41.7k5.2k
63 shows
753 tapes
1981
52.7k
PlaybackListensHours
48h2k260
7d5.6k723
30d52.7k6.6k
92 shows
868 tapes
1980
70.5k
PlaybackListensHours
48h7.4k785
7d10.4k1.2k
30d70.5k8.3k
91 shows
794 tapes
1979
26.1k
PlaybackListensHours
48h1.3k179
7d3.5k489
30d26.1k3.7k
79 shows
600 tapes
1978
59.2k
PlaybackListensHours
48h1.7k225
7d12.5k1.6k
30d59.2k8.1k
87 shows
592 tapes
1977
301.5k
PlaybackListensHours
48h20.1k2.8k
7d34.8k4.8k
30d301.5k41.6k
64 shows
419 tapes
1976
49.4k
PlaybackListensHours
48h2.9k397
7d27.7k3.9k
30d49.4k6.7k
45 shows
298 tapes
1975
5.9k
PlaybackListensHours
48h84680
7d1.5k142
30d5.9k612
25 shows
63 tapes
1974
98.9k
PlaybackListensHours
48h5.6k715
7d12.2k1.6k
30d98.9k12.5k
42 shows
324 tapes
1973
79.9k
PlaybackListensHours
48h3.9k502
7d11.5k1.5k
30d79.9k10.2k
75 shows
445 tapes
1972
76.8k
PlaybackListensHours
48h2.8k339
7d8.6k1.1k
30d76.8k9.3k
88 shows
361 tapes
1971
34.3k
PlaybackListensHours
48h1.6k179
7d6.2k691
30d34.3k3.9k
82 shows
357 tapes
1970
42.2k
PlaybackListensHours
48h5.8k583
7d15k1.5k
30d42.2k4.5k
101 shows
376 tapes
1969
26.2k
PlaybackListensHours
48h2.3k362
7d5.8k944
30d26.2k3.9k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h45260
7d1.5k181
30d6.9k860
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h9313
7d33547
30d1.5k205
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h18815
7d1.1k69
30d8k532
32 shows
78 tapes
1965
573
PlaybackListensHours
48h422
7d1026
30d57334
2 shows
2 tapes
1986
5/10/86
Tuning
1:43
Bertha
6:02
Greatest Story Ever Told
5:09
West L.A. Fadeaway
10:08
Desolation Row
10:02
Tennessee Jed
10:33
New Minglewood Blues
8:29
Big Railroad Blues
4:47
Let It Grow
12:57
Tuning
2:01
Hell In A Bucket
7:02
Sugaree
12:44
Estimated Prophet
11:48
Eyes Of The World
11:06
Drums
10:16
Space
8:56
The Wheel
5:02
China Doll
4:56
Throwing Stones
9:29
Turn On Your Love Light
5:59
Crowd/Tuning
2:00
The Mighty Quinn (Quinn The Eskimo)
4:58
FIN
View on archive.org
Sources
Transferrer: Charlie Miller
2:46:06
SBD
Rating:
9.00 / 5 ratings
Transferrer:
Charlie Miller
SHNID:
gd1986-05-10.sbd.walker-scotton.miller.81625.flac16
Source:
SBD -> Cassette Master (Sony D5/Maxell MX-90) D
Lineage:
Cassette Master (Tascam 122mkII) -> Apogee MiniMe (24bit/48k) ->
Taper Notes:
View NotesPatch Info: AUD Source from etree supplies: Drums (2:05 - 3:02) Notes: -- Set 2 is seamless -- Thanks to Paul Scotton and Joani Walker for the Cassettes
Source 2 of 14
2:46:07
SBD
SHNID:
gd1986-05-10.176988.matrix.shubert.flac2444
Source:
SBD/AUD Matrix Blend by Ryan Schubert
Taper Notes:
View NotesBlend by Ryan Shubert April 2026 Mixed in Reaper 7 at 24-bit / 44.1 kHz. The two sources were loudness-matched and sample-aligned per song. The blend is approximately 60/40 SBD-dominant across the musical range, with the sub-bass being 100% SBD and the high-end leaning SBD as well. Processing was deliberately light and transparent: - Light corrective EQ on each source (linear-phase, iZotope Ozone 12). The SBD got a small subsonic cut and a gentle presence-range trim; the AUD got a high-pass to clear room rumble, a low-pass to tame the HF cliff, and a few small bell cuts in the low-mids and presence. - A very light master EQ (sub-1 dB moves) and a true-peak safety limiter set at -1.0 dBTP (touching peaks only — no loudness processing). - No compression, no saturation, no dynamic EQ, no reverb, no stereo widening, no time stretching or pitch correction. ================================================================ NOTES ================================================================ - Set 2 is seamless (as in the original Miller SBD). - The Miller SBD already contained a small AUD patch in Drums from 2:05 - 3:02 (source: etree supplies). This patch is retained in the matrix and blended with the Clugston AUD at the same point. - Two brief audience source dropouts occur during Sugaree (d2t03). In the matrix, the SBD continues uninterrupted at these points, so the dropouts are not audible in the final blend. Noted here for documentation. - Track boundaries were set independently for this matrix and do not match either parent source exactly.
Source 3 of 14
2:43:42
SBD
Rating:
8.67 / 21 ratings
SHNID:
gd86-05-10.sbd.hinko.19962.sbeok.shnf
Source:
SBD > MC > C > DAT > CD > EAC > SHN
Taper Notes:
View NotesSBD > MC > C > DAT > CD > EAC > SHN; EAC/SHN by Darryl Hinko
Taper: Mark Severson
2:43:47
Taper:
Mark Severson
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1986-05-10.166966.nak700.severson.miller.clugston.flac2496
Source:
Mark Severson's Master Audience Cassettes; Nakamichi 700 mics > Sony D5
Lineage:
Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2024 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Mark Severson for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:08 patch in "Drums" - Pitch corrected Mastered by Scott Clugston January 2024 Set One:
Taper: Mark Severson
2:43:47
Taper:
Mark Severson
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1986-05-10.166965.nak700.severson.miller.clugston.flac1648
Source:
Mark Severson's Master Audience Cassettes; Nakamichi 700 mics > Sony D5
Lineage:
Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2024 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Mark Severson for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:08 patch in "Drums" - Pitch corrected Mastered by Scott Clugston January 2024
Taper: Chris Hecht
2:37:04
Taper:
Chris Hecht
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1986-05-10.148865.neumann.km84i.hecht.miller.clugston.flac2496
Source:
Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5MChris Hecht's Master Audience Cassettes; Neumann KM84i 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 Chris Hecht for the master cassette recording - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:09 patch in "Drums" - Pitch corrected Mastered by Scott Clugston October 2019
Taper: Chris Hecht
2:37:04
Rating:
10.00 / 1 rating
Taper:
Chris Hecht
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1986-05-10.148864.neumann.km84i.hecht.miller.clugston.flac1648
Source:
Chris Hecht's Master Audience Cassettes; Neumann KM84i 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 Chris Hecht for the master cassette recording - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:09 patch in "Drums" - Pitch corrected Mastered by Scott Clugston October 2019
Taper: Oade Brothers
2:45:56
Rating:
10.00 / 1 rating
Taper:
Oade Brothers
Transferrer:
Charlie Miller, Jim Wise, Scott Clugston
SHNID:
gd1986-05-10.140256.fob.schoeps.cmc4.mk41.oade.wise.miller.clugston.flac1644
Taper Notes:
View NotesNotes: - Thanks to the Oade brothers and crew for their master recording(s), as well as a proper transfer to hard disk, and my apologies for not properly acknowledging their efforts sooner. - Thanks to Jim Wise for the hard disk drive - Thanks to Charlie Miller for coordinating this effort Mastered by Scott Clugston December 15, 2017
Taper: Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig
2:41:53
Taper:
Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig
Transferrer:
Kyle Holbrook
SHNID:
gd1986-05-10.156609.nakomni.holbrook.flac24
Source:
1GEN AUDCA Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay > Recorder: Sony TC-D5M no NR Maxell MX90 Location: OTS- ~150 feet from stage spread 20 feet apart
Lineage:
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90 Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Taper Notes:
View NotesAs I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields. The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps. This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear. For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC
Taper: Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig
2:41:53
Taper:
Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig
Transferrer:
Kyle Holbrook
SHNID:
gd1986-05-10.156608.nakomni.holbrook.flac16
Source:
1GEN AUDCA Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay > Recorder: Sony TC-D5M no NR Maxell MX90 Location: OTS- ~150 feet from stage spread 20 feet apart
Lineage:
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90 Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Taper Notes:
View NotesAs I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields. The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps. This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear. For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC
Taper: chasingwilma
2:36:30
Taper:
chasingwilma
Transferrer:
chasingwilma
SHNID:
gd1986-05-10.135047.chasingwilma.flac24
Source:
lineage: schoeps cmc 44 fob> tcd-d5> tcd-d5>mc sony tc we435> sony pcm m-10 24bit/96khz> soundforge> cdwave> traders little helper encoding option 8
Taper: Mike Darby
2:40:16
Taper:
Mike Darby
Transferrer:
Keo
SHNID:
gd1986-05-10.Senn421sNak300s.Darby.120491.Flac1644
Source:
Master Audience Recorded By Mr. Darby; SennheiserMD421s+Nakamichi CM300/CP4s (PAS/DFC/2nd Row Of OTS/6 Feet High)> Sony MX 10>Sony TC-D5M, Tapes Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Dithered/Flacked With Korg Aqua To 16/44 By Keo; SBE's Checked Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename
Taper: Mike Darby
2:40:16
Taper:
Mike Darby
Transferrer:
Keo
SHNID:
gd1986-05-10.Senn421sNak300s.Darby.120490.Flac2448
Source:
Master Audience Recorded By Mr. Darby; SennheiserMD421s+Nakamichi CM300/CP4s (PAS/DFC/2nd Row Of OTS/6 Feet High)> Sony MX 10>Sony TC-D5M, Tapes Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed, Metadata Tagging With Tag&Rename By Keo (The first seed of this source had errors on tracks six and 13; please do not circulate that version.)
Source 14 of 14
2:39:35
Rating:
8.00 / 5 ratings
SHNID:
gd86-05-10.aud.eD.13817.sbeok.shnf
Source:
AUD>MC*>DAT>CDR
Taper Notes:
View NotesAUD>MC*>DAT>CDR; via Abraham & Isaac; seedeD