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Today In History
June 12th
6 shows
73 tapes
Years
1995
29.9k
PlaybackListensHours
48h56675
7d1.2k161
30d29.9k4.2k
49 shows
341 tapes
1994
10.3k
PlaybackListensHours
48h801110
7d3.3k419
30d10.3k1.4k
85 shows
460 tapes
1993
39.1k
PlaybackListensHours
48h3.3k454
7d5.2k664
30d39.1k5.1k
83 shows
656 tapes
1992
38.3k
PlaybackListensHours
48h4.6k608
7d4k520
30d38.3k5.1k
57 shows
538 tapes
1991
35.5k
PlaybackListensHours
48h6.7k844
7d9.2k1.3k
30d35.5k4.9k
78 shows
973 tapes
1990
46.4k
PlaybackListensHours
48h3.3k429
7d16.3k2k
30d46.4k6k
78 shows
1,139 tapes
1989
47.2k
PlaybackListensHours
48h2.9k360
7d5.5k678
30d47.2k5.9k
78 shows
1,017 tapes
1988
20.5k
PlaybackListensHours
48h1.1k133
7d2.5k289
30d20.5k2.4k
82 shows
882 tapes
1987
33.3k
PlaybackListensHours
48h4.3k481
7d4.1k462
30d33.3k3.6k
88 shows
1,025 tapes
1986
11.7k
PlaybackListensHours
48h997112
7d1.7k189
30d11.7k1.3k
47 shows
684 tapes
1985
22k
PlaybackListensHours
48h1.8k205
7d3.3k382
30d22k2.6k
73 shows
1,356 tapes
1984
20k
PlaybackListensHours
48h3.4k402
7d6.6k784
30d20k2.5k
67 shows
1,075 tapes
1983
25.2k
PlaybackListensHours
48h1.4k177
7d2.8k375
30d25.2k3.3k
71 shows
1,069 tapes
1982
41.5k
PlaybackListensHours
48h1.2k152
7d2.9k361
30d41.5k5.1k
63 shows
753 tapes
1981
42.9k
PlaybackListensHours
48h1.9k236
7d4k504
30d42.9k5.4k
92 shows
868 tapes
1980
67.9k
PlaybackListensHours
48h4.9k577
7d11.4k1.2k
30d67.9k7.9k
91 shows
794 tapes
1979
20.8k
PlaybackListensHours
48h1.7k230
7d3.1k439
30d20.8k2.9k
79 shows
600 tapes
1978
45.2k
PlaybackListensHours
48h1.8k255
7d3.8k519
30d45.2k6.1k
87 shows
592 tapes
1977
285.7k
PlaybackListensHours
48h8.6k1.2k
7d41.3k5.7k
30d285.7k39.4k
64 shows
418 tapes
1976
60.2k
PlaybackListensHours
48h21.6k2.8k
7d15k2.1k
30d60.2k8.2k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h24627
7d1.2k123
30d6.3k646
25 shows
63 tapes
1974
93.6k
PlaybackListensHours
48h3.3k444
7d12k1.6k
30d93.6k11.9k
42 shows
324 tapes
1973
84.9k
PlaybackListensHours
48h6.1k851
7d15k2k
30d84.9k10.8k
75 shows
445 tapes
1972
65.4k
PlaybackListensHours
48h2.3k295
7d5.1k634
30d65.4k8k
88 shows
361 tapes
1971
33.2k
PlaybackListensHours
48h1.6k173
7d3.5k392
30d33.2k3.8k
82 shows
357 tapes
1970
44.2k
PlaybackListensHours
48h1.4k167
7d7k718
30d44.2k4.7k
101 shows
375 tapes
1969
26.7k
PlaybackListensHours
48h1.4k177
7d3.7k584
30d26.7k4k
112 shows
326 tapes
1968
7.3k
PlaybackListensHours
48h42856
7d1.5k191
30d7.3k921
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h13217
7d23934
30d1.6k214
23 shows
55 tapes
1966
7.9k
PlaybackListensHours
48h40128
7d66742
30d7.9k523
32 shows
78 tapes
1965
618
PlaybackListensHours
48h191
7d1127
30d61836
2 shows
2 tapes
1986
5/10/86
bertha
8:12
greatest story ever told
4:15
west l.a. fadeaway
7:58
desolation row
10:15
tennessee jed
7:51
new minglewood blues
7:58
big railroad blues
5:03
let it grow
12:39
hell in a bucket
9:11
sugaree
11:06
estimated prophet>
11:58
eyes of the world>
11:05
drums>
2:49
space>
15:18
the wheel>
5:10
china doll>
5:02
throwing stones>
9:12
turn on your lovelight
5:48
the mighty quinn
5:40
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