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Today In History
June 7th
Years
1995
29.5k
PlaybackListensHours
48h770107
7d10.9k1.5k
30d29.5k4.1k
49 shows
340 tapes
1994
8.3k
PlaybackListensHours
48h64391
7d1.3k193
30d8.3k1.2k
85 shows
460 tapes
1993
34.5k
PlaybackListensHours
48h3.9k518
7d4.8k654
30d34.5k4.6k
83 shows
656 tapes
1992
33.3k
PlaybackListensHours
48h2.9k359
7d2.2k292
30d33.3k4.4k
57 shows
539 tapes
1991
36.1k
PlaybackListensHours
48h9.2k1.2k
7d4.6k617
30d36.1k4.9k
78 shows
967 tapes
1990
33.7k
PlaybackListensHours
48h2.6k342
7d5.4k706
30d33.7k4.4k
78 shows
1,139 tapes
1989
45.9k
PlaybackListensHours
48h3k374
7d7.2k900
30d45.9k5.7k
78 shows
1,013 tapes
1988
20.8k
PlaybackListensHours
48h1.3k157
7d2.8k322
30d20.8k2.4k
82 shows
882 tapes
1987
36.2k
PlaybackListensHours
48h2.3k253
7d6.3k659
30d36.2k4k
88 shows
1,025 tapes
1986
14.7k
PlaybackListensHours
48h920102
7d1.8k205
30d14.7k1.7k
47 shows
683 tapes
1985
20.6k
PlaybackListensHours
48h1.8k212
7d3.8k445
30d20.6k2.4k
73 shows
1,356 tapes
1984
15.3k
PlaybackListensHours
48h1.1k147
7d2.9k368
30d15.3k2k
67 shows
1,075 tapes
1983
32.6k
PlaybackListensHours
48h1.6k206
7d3.4k434
30d32.6k4.3k
71 shows
1,069 tapes
1982
40.8k
PlaybackListensHours
48h1.8k223
7d3.5k436
30d40.8k5.1k
63 shows
753 tapes
1981
51.4k
PlaybackListensHours
48h2.3k303
7d4.3k554
30d51.4k6.5k
92 shows
868 tapes
1980
68.7k
PlaybackListensHours
48h6.1k652
7d8.5k986
30d68.7k8k
91 shows
794 tapes
1979
25.5k
PlaybackListensHours
48h1.3k184
7d2.9k401
30d25.5k3.6k
79 shows
600 tapes
1978
57.7k
PlaybackListensHours
48h2.2k289
7d11.1k1.4k
30d57.7k7.9k
87 shows
592 tapes
1977
295.4k
PlaybackListensHours
48h18.4k2.5k
7d28.7k3.9k
30d295.4k40.8k
64 shows
419 tapes
1976
47k
PlaybackListensHours
48h3.6k502
7d25.4k3.5k
30d47k6.4k
45 shows
298 tapes
1975
5.6k
PlaybackListensHours
48h74876
7d1.2k112
30d5.6k582
25 shows
63 tapes
1974
96.5k
PlaybackListensHours
48h4.3k561
7d9.8k1.2k
30d96.5k12.2k
42 shows
324 tapes
1973
77.4k
PlaybackListensHours
48h4.6k595
7d8.9k1.2k
30d77.4k9.8k
75 shows
445 tapes
1972
74.8k
PlaybackListensHours
48h3.5k425
7d6.6k802
30d74.8k9k
88 shows
361 tapes
1971
33.1k
PlaybackListensHours
48h2.1k230
7d5k557
30d33.1k3.8k
82 shows
356 tapes
1970
36.3k
PlaybackListensHours
48h9.3k954
7d9.1k912
30d36.3k3.9k
101 shows
376 tapes
1969
25.1k
PlaybackListensHours
48h2.3k364
7d4.7k744
30d25.1k3.7k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h43052
7d1.2k150
30d6.6k829
41 shows
125 tapes
1967
1.4k
PlaybackListensHours
48h10514
7d28540
30d1.4k198
23 shows
55 tapes
1966
7.9k
PlaybackListensHours
48h23618
7d96261
30d7.9k525
32 shows
78 tapes
1965
549
PlaybackListensHours
48h493
7d785
30d54933
2 shows
2 tapes
1986
5/10/86
Crowd/Tuning
1:57
Bertha >
5:58
Greatest Story Ever Told
5:09
West LA Fadeaway
10:02
Desolation Row
10:05
Tennessee Jed
10:18
New Minglewood Blues
8:29
Big Railroad Blues
4:41
Let It Grow
12:52
Crowd/Tuning
1:43
Hell In A Bucket >
6:56
Sugaree
12:37
Estimated Prophet >
12:08
Eyes Of The World >
10:31
Drums >
9:44
Space >
9:18
The Wheel >
4:56
China Doll >
4:53
Throwing Stones >
9:25
Turn On Your Lovelight
5:50
Encore Break
1:15
E: The Mighty Quinn (Quinn
5:00
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