RELISTENTOTHE Grateful Dead
Re
1987
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Grateful Dead
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June 16th
Years
1995
30.1k
PlaybackListensHours
48h1.5k179
7d1.4k185
30d30.1k4.2k
49 shows
343 tapes
1994
12.7k
PlaybackListensHours
48h1.6k244
7d4.5k665
30d12.7k1.8k
85 shows
460 tapes
1993
38k
PlaybackListensHours
48h1.8k243
7d6.9k909
30d38k5k
83 shows
656 tapes
1992
45.1k
PlaybackListensHours
48h2.8k374
7d8.2k1.1k
30d45.1k6k
57 shows
539 tapes
1991
43k
PlaybackListensHours
48h2.7k359
7d11.1k1.4k
30d43k5.8k
78 shows
973 tapes
1990
48.5k
PlaybackListensHours
48h5.2k736
7d12.4k1.6k
30d48.5k6.3k
78 shows
1,139 tapes
1989
48.9k
PlaybackListensHours
48h2.2k271
7d7.4k925
30d48.9k6.1k
78 shows
1,017 tapes
1988
20.3k
PlaybackListensHours
48h1.1k133
7d3.4k397
30d20.3k2.3k
82 shows
882 tapes
1987
42.7k
PlaybackListensHours
48h4.2k519
7d13.8k1.7k
30d42.7k4.8k
88 shows
1,025 tapes
1986
12.5k
PlaybackListensHours
48h86299
7d2.6k292
30d12.5k1.4k
47 shows
684 tapes
1985
24.7k
PlaybackListensHours
48h6.7k767
7d5.9k693
30d24.7k2.9k
73 shows
1,357 tapes
1984
27k
PlaybackListensHours
48h2.3k285
7d12.1k1.4k
30d27k3.3k
67 shows
1,075 tapes
1983
21k
PlaybackListensHours
48h959121
7d3.4k441
30d21k2.7k
71 shows
1,069 tapes
1982
42.4k
PlaybackListensHours
48h1.3k161
7d3.6k443
30d42.4k5.3k
63 shows
753 tapes
1981
31.2k
PlaybackListensHours
48h2k246
7d5.3k665
30d31.2k3.9k
92 shows
868 tapes
1980
71.1k
PlaybackListensHours
48h3.9k444
7d15.3k1.8k
30d71.1k8.3k
91 shows
794 tapes
1979
21.7k
PlaybackListensHours
48h1.1k158
7d4.1k580
30d21.7k3k
79 shows
608 tapes
1978
38.8k
PlaybackListensHours
48h1.6k213
7d4.9k672
30d38.8k5.2k
87 shows
592 tapes
1977
267.8k
PlaybackListensHours
48h7.8k1.1k
7d26.6k3.7k
30d267.8k37k
64 shows
418 tapes
1976
91.9k
PlaybackListensHours
48h15.9k2.2k
7d42k5.6k
30d91.9k12.4k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h42845
7d88291
30d6.3k647
25 shows
63 tapes
1974
89.9k
PlaybackListensHours
48h3.2k412
7d9.8k1.3k
30d89.9k11.4k
42 shows
324 tapes
1973
90.4k
PlaybackListensHours
48h4k522
7d18.7k2.6k
30d90.4k11.6k
75 shows
445 tapes
1972
62.9k
PlaybackListensHours
48h2.5k316
7d6.6k846
30d62.9k7.7k
88 shows
361 tapes
1971
33.7k
PlaybackListensHours
48h1.5k169
7d4.3k482
30d33.7k3.9k
82 shows
357 tapes
1970
39.3k
PlaybackListensHours
48h1.2k149
7d4.3k504
30d39.3k4.2k
101 shows
376 tapes
1969
28.3k
PlaybackListensHours
48h1.5k235
7d3.8k540
30d28.3k4.2k
112 shows
326 tapes
1968
8.1k
PlaybackListensHours
48h75193
7d1.7k205
30d8.1k1k
41 shows
125 tapes
1967
1.7k
PlaybackListensHours
48h13318
7d31345
30d1.7k233
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h45828
7d89261
30d8k538
32 shows
78 tapes
1965
639
PlaybackListensHours
48h302
7d1097
30d63938
2 shows
2 tapes
1987
12/28/87
Feel Like a Stranger
9:03
Franklin's Tower
8:58
Minglewood Blues
7:38
Row Jimmy
11:19
Far From Me
6:01
When I Paint My Masterpiece
5:39
Sugaree
9:48
Hell in a Bucket
6:35
China Cat Sunflower
6:51
I Know You Rider
6:09
Cumberland Blues
6:55
Man Smart, Woman Smarter
7:05
drums
8:54
space
9:56
The Wheel
5:14
Truckin'
6:47
Smokestack Lightning
2:26
Black Peter
9:17
Sugar Magnolia
8:55
Black Muddy River
6:21
FIN
View on archive.org
Sources
Taper: Joani Walker
2:31:43
Taper:
Joani Walker
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1987-12-28.163799.ultramatrix.walker.scotton.miller.clugston.flac2496
Source:
Joani Walker's Master Ultramatrix Soundboard Cassettes (TDK MA-XG90)
Lineage:
Master Cassettes (Nakamichi CR7-A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> Tascam Hi-Res Editor (24/96 .wav) > Adobe Audition CC 2023 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Joani Walker and Paul Scotton for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Major issues with the ultrabox feed during "Feel Like A Stranger > Franklin's Tower" and "New Minglewood Blues" resulting in severe distortion in the right channel, then turning to just the ambient mics at the end of "Franklin's Tower" and the beginning of "New Minglewood Blues", before switching to a straight soundboard feed for the rest of the show. Since the distortion was relegated to the right channel, the left channel was copied and pasted to the right channel for the ultramatrix soundboard portions until the feed switched to only the ambient mics towards the end of "Franklin's Tower" and beginning of "New Minglewood Blues". All in all, a nice improvement over previous versions and very listenable. - Thanks to Michael Duffy and Curtis Ewing for the Schoeps source which supplies a half second patch when the feed changes from the ambient mics to the straight soundboard in the beginning of "New Minglewood Blues" - Wheel space included in "The Wheel" - Multiple masters were used to make this complete - Pitch corrected Mastered by Scott Clugston February 2023
Taper: Joani Walker
2:31:43
Taper:
Joani Walker
Transferrer:
Scott Clugston, Charlie Miller
SHNID:
gd1987-12-28.163798.ultramatrix.walker.scotton.miller.clugston.flac1648
Source:
Joani Walker's Master Ultramatrix Soundboard Cassettes (TDK MA-XG90)
Lineage:
Master Cassettes (Nakamichi CR7-A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> Tascam Hi-Res Editor (24/96 .wav) > Adobe Audition CC 2023 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Joani Walker and Paul Scotton for the master cassettes - Thanks to Charlie Miller for the transfer and coordinating this effort - Major issues with the ultrabox feed during "Feel Like A Stranger > Franklin's Tower" and "New Minglewood Blues" resulting in severe distortion in the right channel, then turning to just the ambient mics at the end of "Franklin's Tower" and the beginning of "New Minglewood Blues", before switching to a straight soundboard feed for the rest of the show. Since the distortion was relegated to the right channel, the left channel was copied and pasted to the right channel for the ultramatrix soundboard portions until the feed switched to only the ambient mics towards the end of "Franklin's Tower" and beginning of "New Minglewood Blues". All in all, a nice improvement over previous versions and very listenable. - Thanks to Michael Duffy and Curtis Ewing for the Schoeps source which supplies a half second patch when the feed changes from the ambient mics to the straight soundboard in the beginning of "New Minglewood Blues" - Wheel space included in "The Wheel" - Multiple masters were used to make this complete - Pitch corrected Mastered by Scott Clugston February 2023
Taper: OldNeumanntapr
2:26:37
Taper:
OldNeumanntapr
Transferrer:
OldNeumanntapr
SHNID:
gd1987-12-28.168488.ec7.ont.flac1644
Source:
OTS; Superscope EC-7 Cardioid Condensers (Near Coincident) >Sony TC-153SD [XLIIS]
Lineage:
Cass Masters Transferred Via Denon DR-M12HR Cassette Deck >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify By 4.2db, Index Tracks, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips], & Fades) Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53
Taper Notes:
View NotesOldNeumanntapr Notes; This, and the previous night, was the second time that I had recorded the Dead at the Oakland Coliseum Arena, the first time being December 17 1986. The first time I was at the Coliseum was another near disaster, similar to my Ventura Fairgrounds 1986 excursion. I had mechanical problems with my '67 VW bus, and I forgot and left the new pack of double A batteries back in the bus and had to buy a pair from another taper. My Superscope EC7s ran on AA batteries. In 1986 the tapers section was on risers between the soundboard area and the front of the balcony. When people stomped their feet the risers shook and the sea of microphone stands swayed back and forth. For this series of Coliseum shows the tapers section was in the actual balcony and we were farther from the stage and closer to the rafters. I think that Bill Graham wanted that space where the risers had been to stage his pre-show volleyball games. These particular masters of mine have never been digitized and I had to borrow a Denon cassette deck from a friend because my decks have all quit working. Tracking the show out in Audacity I am realizing that I had a bad habit of pausing the tape between some songs. I don't remember what my reasoning was for this but I ended up clipping the beginning of some songs and leaving a really disjointed-sounding recording in the process. I guess I was trying to avoid 'dead air' between songs but it didn't work out really well in the long run. The continuity is a little unsettling at times because of the pauses between some songs, but overall I think the sound quality is decent. The vocals sound really upfront and open, as compared to the Nakamichi CM 300 shotgun source. Not bad for a 22 year old who had only been recording live shows for a year and a half. I used the Superscope EC7 cardioid microphones from late 1986 to early 1989 when a friend started letting me borrow his Nakamichi CM 300s. The Superscope's, which were made by Marantz, had a more open sound, especially on the vocals, but they tended to be a bit boomy on the low end, especially at indoor venues. I never tried them in an x/y pattern. Maybe that would have been an improvement. I think the EC7s had similar sound to Sony ECM-22P's, but (I've heard) that the Sonys were a bit better. I think I liked the Kaiser Convention Center better for recording because it was a bit smaller than the Oakland Coliseum and didn't sound as reverberant.