RELISTENTOTHE Grateful Dead
Re
1986
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June 16th
5 shows
82 tapes
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1995
30.1k
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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
12/17/86
01 Tuning
1:02
02 Alabama Getaway
4:40
03 Promised Land
5:13
04 West LA Fadeaway
9:43
05 Tons Of Steel
5:01
06 Little Red Rooster
9:53
07 Tennessee Jed
9:32
08 Desolation Row
11:47
09 When Push Comes To Shove
4:27
10 The Music Never Stopped
6:18
11 Tuning
2:59
12 Saint Of Circumstance
6:35
13 Cumberland Blues
4:25
14 Samson And Delilah
6:56
15 Ship Of Fools
9:29
16 Man Smart (Woman Smarter)
6:52
17 He's Gone
12:47
18 Drums
10:40
19 Space
9:29
20 The Other One
5:49
21 Black Peter
9:16
22 Throwing Stones
8:36
23 Not Fade Away
7:58
24 Encore Break
2:46
25 Not Fade Away
1:31
26 Brokedown Palace
6:12
FIN
View on archive.org
Sources
Transferrer: Matrix by Kevin Tobin
2:53:33
SBD
Rating:
8.00 / 1 rating
Transferrer:
Matrix by Kevin Tobin
SHNID:
gd1986-12-17.141745.mtx.tobin.flac2496
Source:
<i>Matrix 2 Source Mix</i> - SBD (shnid = 139727) Recording Info: SBD > Cassette Master (Tascam Deck/TDK SA-X90); Transfer Info: Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24 + AUD (shnid = 139364) Michael Hessberg Recording: Sennheiser ME80 > Cassette Master (Sony TC-D5M); Charlie Miller DSD
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > FLAC 24/96; Edited & Mastered in Audacity by Joe Noel: Flac 24/96; Checksum & tags created in xACT - matrix mixing by Kevin Tobin
Taper Notes:
View NotesSBD + AUD Matrix 2 Source Mix --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 21-APR-2018 - Trader Little Helper - Tagged 21-APR-2018 - Tag&Rename --------------------------------------------------------- Brokedown House Production
Transferrer: Kevin Tobin
2:53:12
SBD
Transferrer:
Kevin Tobin
SHNID:
gd1986-12-17.134893.sur5-1.tobin.flac1648
Source:
<b>flac16/48kHz</b>; 5.1 LPCM Surround Sound Mix from SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926) taper: Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - mixing by Kevin Tobin
Taper Notes:
View NotesSurround Sound Mix 5.1 LPCM (48k) All recording, transfers, and mastering by Greg Holtz --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 29-DEC-2015 - Trader Little Helper - Tagged 29-DEC-2015 - Tag&Rename --------------------------------------------------------- Brokedown House Production
Transferrer: Kevin Tobin
2:53:13
SBD
Transferrer:
Kevin Tobin
SHNID:
gd1986-12-17.134892.dts.tobin.flac16
Source:
<b>DTS-Audio-CD 5.1 Mix</b>; SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926)taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - dts mixing by Kevin Tobin
Taper Notes:
View NotesDTS-Audio-CD 5.1 Mix --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 29-DEC-2015 - Trader Little Helper - Tagged 29-DEC-2015 - Tag&Rename --------------------------------------------------------- Front Left Channel SBD -0db Right Channel SBD -0db Center Mixed to mono -1db SBD Surround Left Channel -2db AUD Right Channel -2db AUD Sub/LFE Mixed to mono -1db SBD --------------------------------------------------------- More On DTS Today's audio standards are moving towards multi-channel sound, like DTS and Dolby Digital. While the Audio-CD standard (Red Book) hasn't changed to accommodate these new sound formats, it is still possible to go around the specification and to put a 5.1 surround recording on a regular Audio-CD. To play a DTS-Audio-CD you must connect your DVD/CD player via a digital cable (optical or coaxial) to your DTS Dolby-Digital receiver. It is not 100% sure that your receiver will recognize a DTS-Audio CD, so the first time you're trying to playback a DTS-Audio-CD you must do a test to determine if it can. Begin with the volume very low, start the disc and raise the volume gradually. NEVER listen to a DTS-Audio-CD through the analog audio outputs of your CD/DVD player. Burning Instructions Burn them the absolute same way as you would burn any normal Audio-CD from FLAC files. Brokedown House Production
Transferrer: Kevin Tobin
2:53:13
SBD
Transferrer:
Kevin Tobin
SHNID:
gd1986-12-17.134891.mtx.tobin.flac16
Source:
Matrix 2 Source Mix - SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926)taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - matrix mixing by Kevin Tobin
Taper Notes:
View NotesSBD + AUD Matrix 2 Source Mix(48%-SBD/52%-AUD) --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 29-DEC-2015 - Trader Little Helper - Tagged 29-DEC-2015 - Tag&Rename --------------------------------------------------------- Multitrack Mixdown Settings SET ONE Stereo Matrix SBD -1 AUD 0 SET TWO Stereo Matrix SBD -1 AUD 0 --------------------------------------------------------- Brokedown House Production
Taper: Joani Walker and Paul Scotton
2:59:59
SBD
Rating:
8.00 / 1 rating
Taper:
Joani Walker and Paul Scotton
Transferrer:
Charlie Miller
SHNID:
gd1986-12-17.sbd.walker-scotton.miller.99048.sbeok.flac16
Source:
SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B)
Lineage:
Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16
Taper Notes:
View NotesPatch Info: Nakamichi 300/CP4 -> Cassette Master -> FLAC (shnid=80996) supplies: Desolation Row (5:10 - 5:24) (9:10 - 10:00) When Push Comes To Shove (4:07 - end of track) The Music Never Stopped (0:00 - 0:46) (1:19 - 2:21) He's Gone (10:12 - 10:27) Throwing Stones (8:02 - 8:12) Notes: -- Drums with Babatunde Olatunji -- Thanks to Joani Walker and Paul Scotton for the Cassettes -- Thanks to Joe B. Jones for his help pitch correcting the patch source
Taper: Michael Hessberg
2:53:18
Taper:
Michael Hessberg
Transferrer:
Charlie Miller and Joe Noel
SHNID:
gd1986-12-17.141036.Senn.Hessberg.Miller.Noel.t-flac1644
Source:
Michael Hessberg Recording: Sennheiser ME80 > Cassette Master (Sony TC-D5M); Charlie Miller DSD
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > FLAC 24/96; Edited & Mastered in Audacity by Joe Noel: Flac 24/96; Checksum & tags created in xACT; 24 bit to 16 bit with MusicConverter using sox-14-4-2
Taper Notes:
View NotesNotes: - cross fades applied to tape pauses - A jam ensues from Drums with the entire ensemble cast before Space. - This file set is 16 bit, 24 bit to 16 bit with MusicConverter using sox-14-4-2 * w/ Sikiru Adepoju - Talking Drum * w/ Jose Lorenzo - Berimbau, Hand Percussion Patch Info: - Source #80996 (T. Suraci & D. Beckham) supplies - s1t07; 08:24 - end - s1t08; start - 00:01 & 10:22 - end - s1t09; start - 00:02 - s2t12; 05:18 - 05:26 - s2t13; 00:00 - 01:02
Taper: OldNeumanntapr
2:55:34
Taper:
OldNeumanntapr
Transferrer:
OldNeumanntapr
SHNID:
gd1986-12-17.168571.superscopeEC-7.v2.ont.flac1644
Source:
OTS (Risers); Superscope EC-7 Cardioids (Near Coincident) >Sony TC-153SD [XLIIS]
Lineage:
Cassette Masters Transferred Via Denon DR-M12HR >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits & Fades) >FLAC (Level 8) + Tags Via xACT 2.53
Taper Notes:
View NotesThis is "v2" which differs from "v1" on tracks d1t02, d1t03 OldNeumanntapr Notes; This was my 5th Dead show, and the 2nd that I recorded. It was also my first time being in the Oakland Coliseum. I had recently purchased a pair of Marantz Superscope EC-7 cardioid microphones and a Sony TC-153SD cassette recorder and this was the 1st show that I recorded with that combo. I thought that the cardioids reproduced the vocals well, but they did allow a lot more room noise so they could sound boomy in large rooms like the Coliseum. I guess it's a trade off, because years later when I started using CM-300 shotguns I felt that though they did a good job of limiting the reverberant room noise, they also had lower vocal response. I almost didn't make it to this show, because I was having mechanical problems with my old '67 VW bus. It had a couple of interesting problems. One was that the accelerator pedal would stick wide open if you pushed it to the floor. I had to stop the bus on an off ramp in San Jose because it stuck, and the only way to get it unstuck was to throw it into neutral, shut the engine off, coast to a stop and pull the counterweights down on the carburetor. Because I had stopped on a banked off ramp, the bus was leaning to the right, and gas was leaking out of the gas tank because the gas cap had a bad seal. The other problem that the bus had was that the electrical system would build up resistance once the motor got hot and the starter wouldn't work unless you took a screw driver and shorted across the terminals on the starter motor. Well, the bus wouldn't start and there was gas leaking out of the tank, so I was worried that a spark would cause an explosion. I told my ex wife to get way back out of the way and I crawled under, held my breath, and shorted the starter, which broke the resistance. Luckily the bus didn't catch fire and we were able to make it to the show OK. I forgot to bring in my new AA batteries for the microphones and I couldn't figure out why I wasn't getting a signal when I hooked my recording equipment together! I ran up the aisle in the taper section with a $5 bill and bought two batteries from another taper. To whomever that was that night, a big THANK YOU!!! The taper section was on the risers for that series of shows and I remember the mic stands all swaying when the crowd got going. I don't remember the risers ever being used again at the Oakland Coliseum for the tapers. In later years Bill Graham had his pre-show volleyball games there, right behind the board. I was really happy at that show because, 1. I made it there alive, and 2., Jerry was playing again! These were the first shows after his diabetic coma. We had driven down to the Ventura Fairgrounds earlier in the summer only to find that those shows had been cancelled because Jerry had gone into the hospital. We stayed over after the Oakland show that night in the bus in the parking lot of the Coliseum, (remember when they let you do that?) and drove home the following morning. This was a good show for me, because it was the 1st time that I had seen an 'Alabama Getaway' opener, and I wouldn't see another one until the June 1995 shows at Shoreline. I always enjoyed hearing Bobby do 'Desolation Row', and the 'Music' 1st set closer was really nice too. In retrospect I wish I had not paused the tape between songs in the first set, but I was still learning and didn't really know what I was doing. At least this recording sounded better with the addition of a decent recorder like the 153, as compared to my old Sharp boom box with auto levels, which is what I recorded the May 11 1986 Frost show with. Sadly the end of the Brokedown Palace encore is cut because I ran out of tape. For some reason I would start the second set at the end of the first set tape when I first started taping, which was dumb because it would give me one extra tape flip to deal with. Again, I was green but I got better. This was the first 'Not Fade Away' since Jerry's coma, and the 'Not Fade Away Fadeaway' went on FOREVER! I think the whole track was over 11 minutes long! You could really feel the love in the crowd for Jerry's return because, at least for me, there was a time when I wasn't sure that he was Coming back.
Taper: OldNeumanntapr
2:55:34
Taper:
OldNeumanntapr
Transferrer:
OldNeumanntapr
SHNID:
gd1986-12-17.168571.superscopeEC7.ont.flac1644
Source:
OTS (Risers); Superscope EC-7 Cardioids (Near Coincident) >Sony TC-153SD [XLIIS]
Lineage:
Cassette Masters Transferred Via Denon DR-M12HR >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits & Fades) >FLAC (Level 8) + Tags Via xACT 2.53
Taper Notes:
View NotesThis is version 1 OldNeumanntapr Notes; This was my 5th Dead show, and the 2nd that I recorded. It was also my first time being in the Oakland Coliseum. I had recently purchased a pair of Marantz Superscope EC-7 cardioid microphones and a Sony TC-153SD cassette recorder and this was the 1st show that I recorded with that combo. I thought that the cardioids reproduced the vocals well, but they did allow a lot more room noise so they could sound boomy in large rooms like the Coliseum. I guess it's a trade off, because years later when I started using CM-300 shotguns I felt that though they did a good job of limiting the reverberant room noise, they also had lower vocal response. I almost didn't make it to this show, because I was having mechanical problems with my old '67 VW bus. It had a couple of interesting problems. One was that the accelerator pedal would stick wide open if you pushed it to the floor. I had to stop the bus on an off ramp in San Jose because it stuck, and the only way to get it unstuck was to throw it into neutral, shut the engine off, coast to a stop and pull the counterweights down on the carburetor. Because I had stopped on a banked off ramp, the bus was leaning to the right, and gas was leaking out of the gas tank because the gas cap had a bad seal. The other problem that the bus had was that the electrical system would build up resistance once the motor got hot and the starter wouldn't work unless you took a screw driver and shorted across the terminals on the starter motor. Well, the bus wouldn't start and there was gas leaking out of the tank, so I was worried that a spark would cause an explosion. I told my ex wife to get way back out of the way and I crawled under, held my breath, and shorted the starter, which broke the resistance. Luckily the bus didn't catch fire and we were able to make it to the show OK. I forgot to bring in my new AA batteries for the microphones and I couldn't figure out why I wasn't getting a signal when I hooked my recording equipment together! I ran up the aisle in the taper section with a $5 bill and bought two batteries from another taper. To whomever that was that night, a big THANK YOU!!! The taper section was on the risers for that series of shows and I remember the mic stands all swaying when the crowd got going. I don't remember the risers ever being used again at the Oakland Coliseum for the tapers. In later years Bill Graham had his pre-show volleyball games there, right behind the board. I was really happy at that show because, 1. I made it there alive, and 2., Jerry was playing again! These were the first shows after his diabetic coma. We had driven down to the Ventura Fairgrounds earlier in the summer only to find that those shows had been cancelled because Jerry had gone into the hospital. We stayed over after the Oakland show that night in the bus in the parking lot of the Coliseum, (remember when they let you do that?) and drove home the following morning. This was a good show for me, because it was the 1st time that I had seen an 'Alabama Getaway' opener, and I wouldn't see another one until the June 1995 shows at Shoreline. I always enjoyed hearing Bobby do 'Desolation Row', and the 'Music' 1st set closer was really nice too. In retrospect I wish I had not paused the tape between songs in the first set, but I was still learning and didn't really know what I was doing. At least this recording sounded better with the addition of a decent recorder like the 153, as compared to my old Sharp boom box with auto levels, which is what I recorded the May 11 1986 Frost show with. Sadly the end of the Brokedown Palace encore is cut because I ran out of tape. For some reason I would start the second set at the end of the first set tape when I first started taping, which was dumb because it would give me one extra tape flip to deal with. Again, I was green but I got better.
Transferrer: Kevin Tobin
2:53:13
Transferrer:
Kevin Tobin
SHNID:
gd1986-12-17.134890.upg-aud.tobin.flac16
Source:
(original shnid = 88926) AUD: taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - pitch correction and patches by Kevin Tobin
Taper Notes:
View NotesPatched and pitch corrected Audience --------------------------------------------------------- - Mixed by [email protected] - FLAC conversion 29-DEC-2015 - Trader Little Helper - Tagged 29-DEC-2015 - Tag&Rename --------------------------------------------------------- Only minor patching - 1st set had some additional dead air before Desolation Row to match soundboard tracks. 2nd set had 41 seconds added during the end of He's Gone and 10 seconds at the end of Black Peter. Speedwise the audience was a bit slow compared to other recordings - about .5 seconds per minute. Brokedown House Production