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June 16th
5 shows
82 tapes
Years
1995
30.1k
49 shows
343 tapes
1994
12.7k
85 shows
460 tapes
1993
38k
83 shows
656 tapes
1992
45.1k
57 shows
539 tapes
1991
43k
78 shows
973 tapes
1990
48.5k
78 shows
1,139 tapes
1989
48.9k
78 shows
1,017 tapes
1988
20.3k
82 shows
882 tapes
1987
42.7k
88 shows
1,025 tapes
1986
12.5k
47 shows
684 tapes
1985
24.7k
73 shows
1,357 tapes
1984
27k
67 shows
1,075 tapes
1983
21k
71 shows
1,069 tapes
1982
42.4k
63 shows
753 tapes
1981
31.2k
92 shows
868 tapes
1980
71.1k
91 shows
794 tapes
1979
21.7k
79 shows
608 tapes
1978
38.8k
87 shows
592 tapes
1977
267.8k
64 shows
418 tapes
1976
91.9k
45 shows
298 tapes
1975
6.3k
25 shows
63 tapes
1974
89.9k
42 shows
324 tapes
1973
90.4k
75 shows
445 tapes
1972
62.9k
88 shows
361 tapes
1971
33.7k
82 shows
357 tapes
1970
39.3k
101 shows
376 tapes
1969
28.3k
112 shows
326 tapes
1968
8.1k
41 shows
125 tapes
1967
1.7k
23 shows
55 tapes
1966
8k
32 shows
78 tapes
1965
639
2 shows
2 tapes
1986
5/10/86
Bertha
6:09
Greatest Story Ever Told
5:06
West L.A. Fadeaway
7:04
Crowd noise
2:56
Desolation Row
10:13
Tennessee Jed
7:50
Crowd noise
2:28
New Minglewood Blues
6:26
Crowd Noise
2:00
Big Railroad Blues
4:38
Let It Grow
12:54
Hell in a Bucket
7:11
Sugaree
10:48
Crowd noise
1:49
Estimated Prophet
11:38
Eyes of the World
9:04
Drums
10:23
Space
8:55
The Wheel
4:56
China Doll
4:53
Throwing Stones
9:25
Turn on Your Lovelight
5:54
Crowd noise
2:08
The Mighty Quinn
4:47
FIN
View on archive.org
Sources
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.
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