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June 5th
Years
1995
27k
PlaybackListensHours
48h3k414
7d8.6k1.2k
30d27k3.8k
49 shows
340 tapes
1994
8k
PlaybackListensHours
48h69296
7d1.1k167
30d8k1.2k
85 shows
460 tapes
1993
31.5k
PlaybackListensHours
48h3.5k480
7d1.9k257
30d31.5k4.2k
83 shows
656 tapes
1992
32.7k
PlaybackListensHours
48h1k133
7d8.1k1k
30d32.7k4.4k
57 shows
539 tapes
1991
35.8k
PlaybackListensHours
48h1.7k229
7d8k1.1k
30d35.8k4.9k
78 shows
967 tapes
1990
33.7k
PlaybackListensHours
48h2.7k344
7d5k661
30d33.7k4.4k
78 shows
1,139 tapes
1989
45.2k
PlaybackListensHours
48h3.9k494
7d5.7k709
30d45.2k5.6k
78 shows
1,013 tapes
1988
21k
PlaybackListensHours
48h1.2k140
7d4.1k444
30d21k2.4k
82 shows
882 tapes
1987
38.4k
PlaybackListensHours
48h2.7k287
7d8.6k821
30d38.4k4.2k
88 shows
1,025 tapes
1986
14.4k
PlaybackListensHours
48h940105
7d1.8k202
30d14.4k1.7k
47 shows
683 tapes
1985
19.9k
PlaybackListensHours
48h1.9k228
7d3.4k399
30d19.9k2.3k
73 shows
1,356 tapes
1984
20.3k
PlaybackListensHours
48h1.6k200
7d2.2k289
30d20.3k2.6k
67 shows
1,075 tapes
1983
32.4k
PlaybackListensHours
48h1.5k194
7d3.3k441
30d32.4k4.3k
71 shows
1,069 tapes
1982
40k
PlaybackListensHours
48h1.7k215
7d3.4k418
30d40k5k
63 shows
753 tapes
1981
56.7k
PlaybackListensHours
48h2.1k269
7d4.4k552
30d56.7k7.2k
92 shows
868 tapes
1980
67.5k
PlaybackListensHours
48h5.2k594
7d12.3k1.5k
30d67.5k7.9k
91 shows
794 tapes
1979
27.9k
PlaybackListensHours
48h1.4k193
7d3k406
30d27.9k3.9k
79 shows
600 tapes
1978
52.8k
PlaybackListensHours
48h8.4k1.1k
7d5.4k719
30d52.8k7.3k
87 shows
592 tapes
1977
329.3k
PlaybackListensHours
48h15.9k2.1k
7d25k3.5k
30d329.3k46k
64 shows
419 tapes
1976
37.9k
PlaybackListensHours
48h10.3k1.4k
7d17.3k2.4k
30d37.9k5.1k
45 shows
298 tapes
1975
5.1k
PlaybackListensHours
48h78672
7d71378
30d5.1k544
25 shows
63 tapes
1974
94.5k
PlaybackListensHours
48h4.2k529
7d10.2k1.3k
30d94.5k11.9k
42 shows
324 tapes
1973
76.5k
PlaybackListensHours
48h4.2k551
7d9.7k1.3k
30d76.5k9.7k
75 shows
445 tapes
1972
75k
PlaybackListensHours
48h3k365
7d6.8k832
30d75k9.1k
88 shows
361 tapes
1971
32.6k
PlaybackListensHours
48h2.2k250
7d5.3k592
30d32.6k3.7k
82 shows
356 tapes
1970
31.5k
PlaybackListensHours
48h6.6k638
7d3.8k409
30d31.5k3.5k
101 shows
376 tapes
1969
22.6k
PlaybackListensHours
48h3.2k519
7d6.7k892
30d22.6k3.3k
112 shows
326 tapes
1968
6.4k
PlaybackListensHours
48h52066
7d1.1k133
30d6.4k799
41 shows
125 tapes
1967
1.4k
PlaybackListensHours
48h14922
7d28439
30d1.4k197
23 shows
55 tapes
1966
7.6k
PlaybackListensHours
48h51339
7d1k60
30d7.6k497
32 shows
78 tapes
1965
553
PlaybackListensHours
48h372
7d1086
30d55333
2 shows
2 tapes
1986
5/10/86
Crowd
1:23
Bertha >
6:00
Greatest Story Ever Told
4:12
West LA Fadeaway
7:50
Desolation Row
10:06
Tennessee Jed
9:40
New Minglewood Blues
8:29
Big Railroad Blues >
4:39
Let It Grow
13:02
Crowd
1:36
Hell In A Bucket >
6:50
Sugaree
11:40
Estimated Prophet >
11:53
Eyes Of The World >
10:26
Drums >
9:42
Space >
8:57
The Wheel >
5:02
China Doll >
4:49
Throwing Stones >
9:17
Turn On Your Lovelight
5:47
Encore Break
0:47
The Mighty Quinn (Quinn The Eskimo)
4:57
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