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Today In History
June 5th
5 shows
26 tapes
Years
1995
27.4k
PlaybackListensHours
48h3.5k472
7d9.3k1.3k
30d27.4k3.8k
49 shows
340 tapes
1994
8.4k
PlaybackListensHours
48h67795
7d1.4k211
30d8.4k1.2k
85 shows
460 tapes
1993
31.9k
PlaybackListensHours
48h2.8k383
7d2.4k322
30d31.9k4.2k
83 shows
656 tapes
1992
32.9k
PlaybackListensHours
48h1.1k139
7d11.9k1.5k
30d32.9k4.4k
57 shows
539 tapes
1991
36.4k
PlaybackListensHours
48h1.6k222
7d8.8k1.2k
30d36.4k5k
78 shows
967 tapes
1990
35.9k
PlaybackListensHours
48h2.5k325
7d6.3k839
30d35.9k4.7k
78 shows
1,139 tapes
1989
49.7k
PlaybackListensHours
48h3.8k484
7d7.2k902
30d49.7k6.2k
78 shows
1,013 tapes
1988
21.8k
PlaybackListensHours
48h1.2k133
7d5k540
30d21.8k2.5k
82 shows
882 tapes
1987
39.1k
PlaybackListensHours
48h2.6k282
7d9.7k944
30d39.1k4.3k
88 shows
1,025 tapes
1986
14.8k
PlaybackListensHours
48h948105
7d2.2k256
30d14.8k1.7k
47 shows
683 tapes
1985
20.7k
PlaybackListensHours
48h1.8k211
7d4.3k503
30d20.7k2.4k
73 shows
1,356 tapes
1984
23.1k
PlaybackListensHours
48h1.4k183
7d2.9k372
30d23.1k2.9k
67 shows
1,075 tapes
1983
33k
PlaybackListensHours
48h1.5k189
7d4.1k544
30d33k4.4k
71 shows
1,069 tapes
1982
40.8k
PlaybackListensHours
48h1.6k207
7d4.2k526
30d40.8k5.1k
63 shows
753 tapes
1981
58.3k
PlaybackListensHours
48h2k260
7d5.4k690
30d58.3k7.4k
92 shows
868 tapes
1980
70.9k
PlaybackListensHours
48h4.1k476
7d19.8k2.4k
30d70.9k8.3k
91 shows
794 tapes
1979
29.2k
PlaybackListensHours
48h1.3k183
7d3.7k521
30d29.2k4.1k
79 shows
600 tapes
1978
56.3k
PlaybackListensHours
48h8.3k1k
7d6.9k925
30d56.3k7.8k
87 shows
592 tapes
1977
344k
PlaybackListensHours
48h15.3k2k
7d32.7k4.6k
30d344k48.1k
64 shows
419 tapes
1976
38.7k
PlaybackListensHours
48h12.4k1.7k
7d18.7k2.6k
30d38.7k5.2k
45 shows
298 tapes
1975
5.3k
PlaybackListensHours
48h70166
7d89897
30d5.3k567
25 shows
63 tapes
1974
95.8k
PlaybackListensHours
48h4.3k531
7d12.7k1.6k
30d95.8k12.1k
42 shows
324 tapes
1973
78.2k
PlaybackListensHours
48h3.9k510
7d12.2k1.6k
30d78.2k9.9k
75 shows
445 tapes
1972
77.5k
PlaybackListensHours
48h2.8k349
7d8.6k1k
30d77.5k9.4k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h2.2k251
7d8.8k1k
30d33.5k3.8k
82 shows
356 tapes
1970
33.2k
PlaybackListensHours
48h5.6k544
7d4.5k487
30d33.2k3.7k
101 shows
376 tapes
1969
23.7k
PlaybackListensHours
48h2.7k431
7d8.8k1.2k
30d23.7k3.4k
112 shows
326 tapes
1968
6.6k
PlaybackListensHours
48h55570
7d1.2k151
30d6.6k817
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h15521
7d34847
30d1.6k215
23 shows
55 tapes
1966
7.7k
PlaybackListensHours
48h42031
7d1.2k74
30d7.7k508
32 shows
78 tapes
1965
571
PlaybackListensHours
48h342
7d1468
30d57134
2 shows
2 tapes
1986
5/11/86
Tuning
4:44
Gimme Some Lovin' ->
5:08
Dancin' In The Street
8:39
Never Trust A Woman
6:56
Iko Iko
8:00
My Brother Esau
5:00
It Must Have Been The Roses
6:59
Cassidy ->
5:45
Might As Well
4:26
Crowd
3:38
I Need A Miracle ->
3:05
U. S. Blues
5:30
Samson And Delilah ->
7:30
Crazy Fingers ->
8:22
He's Gone ->
11:57
Smokestack Lightnin' ->
4:59
Drums ->
13:15
Space ->
6:42
The Other One ->
6:09
Comes A Time ->
6:59
Around And Around ->
3:59
Not Fade Away
8:30
FIN
View on archive.org
Sources
Transferrer: Charlie Miller
2:26:12
SBD
Rating:
7.75 / 9 ratings
Transferrer:
Charlie Miller
SHNID:
gd1986-05-11.sbd.walker-scotton.miller.81626.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: Beyer M88 -> Cassette Master -> Sound Forge -> CD (By Charlie Connor): Space (0:16 - 0:30) Notes: -- Encore on end of 1st Set to fit show onto 2 discs -- Seamless transition between 2nd Set and Encore -- Thanks to Paul Scotton and Joani Walker for the Cassettes
Transferrer: Darryl Hinko
2:25:31
SBD
Rating:
7.60 / 5 ratings
Transferrer:
Darryl Hinko
SHNID:
gd86-05-11.sbd.hinko.26557.sbeok.flacf
Source:
<b>flac16</b> SBD > MC > C > DAT > CD > EAC > FLAC
Taper Notes:
View Notes<b>flac16</b>; SBD > MC > C > DAT > CD > EAC > FLAC; inlcuding AUD patches from <a href="shn/2317" rel="nofollow">previous</a> Beyer source; EAC/FLAC by Darryl Hinko, from David Feldstein's source discs
Source 3 of 11
2:16:00
SBD
Rating:
7.00 / 2 ratings
SHNID:
gd86-05-11.sbd.gardner.8115.sbeok.shnf
Source:
SBD>MC>DAT>CDR (Additional Cass generations?)
Taper Notes:
View NotesSBD>MC>DAT>CDR (Additional Cass generations?); via Tony Gardner
Taper: Oade Brothers
2:28:19
Taper:
Oade Brothers
Transferrer:
Charlie Miller, Jim Wise, Scott Clugston
SHNID:
gd1986-05-11.140257.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 - Thanks to the folks responsible for the shnid3217 Beyer M88 source which supplies a 0:15 patch in "He's Gone" to eliminate some static/crackle - PA crackle at approximately 2:16 of Iko Iko (present on all circulating copies) - To everyone who chanted "Let Phil Sing"......are you happy? - Other One space included in "The Other One" Mastered by Scott Clugston December 15, 2017
Taper: OldNeumanntapr
2:20:45
Taper:
OldNeumanntapr
Transferrer:
OldNeumanntapr
SHNID:
gd1986-05-11.168552.RealisticStereoCardioidCondenser33919.ont.flac1644
Source:
OTS; Left, Realistic Stereo Cardioid Condenser 33-919 (On Stand) >Sharp Boom Box
Lineage:
XLII Master Tapes Transferred Via Denon DR-M12HR Cassette Deck >Tascam DR100mkII (24bit/48kHZ) WAV >Audacity (EQ, Amplify, Track Splits, Minor Edits, Fades, Down Sample To 16bit/44.1kHz) >FLAC (Level 8) + Tags Via xACT 2.53
Taper Notes:
View NotesOldNeumanntapr Notes: This was my fourth Grateful Dead concert, the very first successful show that I recorded, and was a few days before my 21st birthday. After incurring a dismal failure trying to record the May 3 Cal Expo show, I borrowed a Realistic stereo microphone and a microphone stand from the Cuesta College Music Department, where I was going to school and also working for the music dept. I was still using my boom box, because that was the only portable deck I had at the time, but the results were better with the better microphone. (I had tried to hand-hold two mismatched old mics from the 1960s for the Cal Expo show. I only tried recording the Saturday show and it was such a disappointment that I went up front on the Sunday May 4 show and shot photos instead.) Because the band actually ALLOWED live recording, I really wanted to try and get a decent recording so I tried again at the Frost. My ex wife Nikki's best friend from high school was getting married in Morgan Hill just south of San Jose, on Sunday May 10, so I thought that since we were already going to the wedding we might as well go a little further and see the Dead again. We camped up on the mountain at Henry Coe State Park in Morgan Hill in my '67 VW bus after going to the wedding, and got up the next morning and drove to Palo Alto. I remember that we parked in the lots next to a newer VW Vanagon with some cool bumperstickers on the back window, one that said 'One Nuclear Bomb Can Ruin Your Whole Day.' I also remember 'Mr Willie', an ex-Oakland police officer that the Dead had hired for security, and Willie walking up and down the line outside the gates while telling the crowd, 'There's NO drinkin' in the line! No drinkin' in the line, so Please, ... keep it out of site!' I thought he was funny. We set up on the left side of the tapers section, which was the closest side to the entrance gates. The Frost had tiered levels of grass with concrete 'curbs' that separated each level. I had taken my Pentax MX 35mm camera with me and took some photos of the band during the first set, including a good shot of Bobby singing 'My Brother Esau'. I also took some photos of the tapers section with all the microphones, and my ex wife took one of me as well. The whole recording phenomena really blew my mind. I had NO IDEA what I was doing, and I paused the tape between songs in the first set to conserve tape and alleviate 'dead air', but I wish now that I would have just let the tape run. I waited too long to flip the first set tape and ended up with a cut in the middle of 'Might As Well' because of the segue out of 'Cassidy'. I was really happy to have a memento of the show to listen to afterward, but I was not happy with the sound quality of my Sharp boom box. (I can't remember the model number but it had detachable speakers that I left at home to save weight.) I was lucky to find that a friend of a friend of mine in Morro Bay had a Sony TC-153SD cassette portable and two Superscope EC7 cardioid condenser microphones that he was willing to sell me. I bought the deck and the mics for $240, which, (for me at the time), was a lot of money because I was a poor college student. Lee had worked at Pacific Stereo in San Luis Obispo in the 1970s and special ordered the Sony deck. He used it, and the microphones, mostly to record sounds of nature like ocean waves for a soundtrack to his acid trips. This recording has never been shared, or transferred before. Though I was able to work on it in Audacity to correct some of the flaws it is still a bit rough. It was, however, my first complete audience attempt, and is what started this 38-year odyssey of live music recording that includes over 200 total shows including 40 or more Dead shows and probably 20 or so other attempts that failed because of equipment problems. (Mostly because of my Sony D7 mis-loading, but there was a few cable-related catastrophes.) It has seriously been 'A Long Strange Trip,' and I thank the Grateful Dead for making open live taping available for me to experience. It wouldn't be until 1990 that I would try anything other than open 'sanctioned' recording.
Taper: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
2:24:38
Rating:
10.00 / 1 rating
Taper:
Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferrer:
Kyle Holbrook
SHNID:
gd1986-05-11.156611.nakomni.holbrook.flac24
Source:
1GEN AUDCA speed corrected 2.25% usig Audacity 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 Notes** missed start ## The entire first track had technical difficulties in the Right channel so I patched the left and made it mono. & half way through a loud PA crackle occurs the story: As 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, John Hance, Aaron; patched out of Poris/Olness rig
2:24:39
Taper:
Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferrer:
Kyle Holbrook
SHNID:
gd1986-05-11.156610.nakomni.holbrook.flac16
Source:
1GEN AUDCA speed corrected 2.25% usig Audacity 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 Notes** missed start ## The entire first track had technical difficulties in the Right channel so I patched the left and made it mono. & half way through a loud PA crackle occurs the story: As 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
2:17:12
Taper:
chasingwilma
Transferrer:
chasingwilma
SHNID:
gd1986-05-11.135048.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
2:19:26
Rating:
8.00 / 1 rating
Taper:
Mike Darby
Transferrer:
Keo
SHNID:
gd1986-05-11.Senn421sNak300s.Darby.120513.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 Notes:
View NotesComments:Another Huge Huge Thanks out to Mr. Darby for recording and sharing his source for this second night at the Frost!!This is another excellent recording and share from the Darby collection and the GD's spring 1986 tour! AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Taper: Mike Darby
2:19:26
Taper:
Mike Darby
Transferrer:
Keo
SHNID:
gd1986-05-11.Senn421sNak300s.Darby.120512.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
Taper Notes:
View NotesComments:Another Huge Huge Thanks out to Mr. Darby for recording and sharing his source for this second night at the Frost!!This is another excellent recording and share from the Darby collection and the GD's spring 1986 tour! AS ALWAYS ENJOY!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Source 11 of 11
2:15:56
Rating:
8.00 / 3 ratings
SHNID:
gd86-05-11.beyer.connor.2317.sbeok.shnf
Source:
AUD> Beyer Dynamic M88's> D5 (CM)> Nak MR2 (Playback)> Panasonic 3700 (ADC only, no DAT stage)> ZA2> Sound Forge (crossfading over tape flips only)> CDRx1> EAC> SHN
Taper Notes:
View NotesAUD> Beyer Dynamic M88's> D5 (CM)> Nak MR2 (Playback)> Panasonic 3700 (ADC only, no DAT stage)> ZA2> Sound Forge (crossfading over tape flips only)> CDRx1> EAC> SHN; taped by Charlie Connor; A>D conversion by Stephen Agan; via Charlie Connor to abgd; see alternate tracking suggestions in info file