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June 8th
Years
1995
30k
PlaybackListensHours
48h764105
7d11.4k1.6k
30d30k4.2k
49 shows
340 tapes
1994
8.5k
PlaybackListensHours
48h68296
7d1.6k231
30d8.5k1.2k
85 shows
460 tapes
1993
37.6k
PlaybackListensHours
48h3.8k505
7d8k1.1k
30d37.6k5k
83 shows
656 tapes
1992
35.2k
PlaybackListensHours
48h2.9k363
7d4.1k528
30d35.2k4.7k
57 shows
539 tapes
1991
40.6k
PlaybackListensHours
48h9.3k1.3k
7d9k1.2k
30d40.6k5.5k
78 shows
967 tapes
1990
35.2k
PlaybackListensHours
48h2.6k346
7d6.9k905
30d35.2k4.6k
78 shows
1,139 tapes
1989
47.5k
PlaybackListensHours
48h3k372
7d8.7k1.1k
30d47.5k5.9k
78 shows
1,013 tapes
1988
21.6k
PlaybackListensHours
48h1.3k157
7d3.6k417
30d21.6k2.5k
82 shows
882 tapes
1987
37.5k
PlaybackListensHours
48h2.2k248
7d7.5k801
30d37.5k4.1k
88 shows
1,025 tapes
1986
15.2k
PlaybackListensHours
48h932103
7d2.3k260
30d15.2k1.7k
47 shows
683 tapes
1985
21.7k
PlaybackListensHours
48h1.8k212
7d4.9k577
30d21.7k2.6k
73 shows
1,356 tapes
1984
15.8k
PlaybackListensHours
48h1.1k145
7d3.4k441
30d15.8k2k
67 shows
1,075 tapes
1983
33.3k
PlaybackListensHours
48h1.5k203
7d4.1k529
30d33.3k4.4k
71 shows
1,069 tapes
1982
41.7k
PlaybackListensHours
48h1.8k224
7d4.4k548
30d41.7k5.2k
63 shows
753 tapes
1981
52.7k
PlaybackListensHours
48h2.3k301
7d5.6k723
30d52.7k6.6k
92 shows
868 tapes
1980
70.5k
PlaybackListensHours
48h6.3k670
7d10.4k1.2k
30d70.5k8.3k
91 shows
794 tapes
1979
26.1k
PlaybackListensHours
48h1.3k184
7d3.5k489
30d26.1k3.7k
79 shows
600 tapes
1978
59.2k
PlaybackListensHours
48h2.1k284
7d12.5k1.6k
30d59.2k8.1k
87 shows
592 tapes
1977
301.5k
PlaybackListensHours
48h19.3k2.7k
7d34.8k4.8k
30d301.5k41.6k
64 shows
419 tapes
1976
49.4k
PlaybackListensHours
48h3.7k503
7d27.7k3.9k
30d49.4k6.7k
45 shows
298 tapes
1975
5.9k
PlaybackListensHours
48h80481
7d1.5k142
30d5.9k612
25 shows
63 tapes
1974
98.9k
PlaybackListensHours
48h4.3k560
7d12.2k1.6k
30d98.9k12.5k
42 shows
324 tapes
1973
79.9k
PlaybackListensHours
48h4.6k603
7d11.5k1.5k
30d79.9k10.2k
75 shows
445 tapes
1972
76.8k
PlaybackListensHours
48h3.4k420
7d8.6k1.1k
30d76.8k9.3k
88 shows
361 tapes
1971
34.3k
PlaybackListensHours
48h2.1k228
7d6.2k691
30d34.3k3.9k
82 shows
356 tapes
1970
42.2k
PlaybackListensHours
48h9.3k947
7d15k1.5k
30d42.2k4.5k
101 shows
376 tapes
1969
26.2k
PlaybackListensHours
48h2.2k360
7d5.8k944
30d26.2k3.9k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h42152
7d1.5k181
30d6.9k860
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h10815
7d33547
30d1.5k205
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h24318
7d1.1k69
30d8k532
32 shows
78 tapes
1965
573
PlaybackListensHours
48h493
7d1026
30d57334
2 shows
2 tapes
1988
12/29/88
Crowd/tuning
2:35
Hell in a Bucket >
6:09
Sugaree
9:38
New Minglewood Blues
9:19
Friend of the Devil
9:55
Queen Jane Approximately
6:58
To Lay Me Down >
8:36
Let It Grow
12:34
Playin' In teh Band >
9:03
Crazy Fingers >
8:11
Samson and Delilah >
8:11
Playing In The Band >
3:14
Eyes Of The World >
8:26
Drums >
8:30
Space >
6:55
The Other One >
6:52
Stella Blue >
7:34
Throwin' Stones >
9:14
Not Fade Away >
6:55
Not Fade Away chant
4:04
The Mighty Quinn
5:43
FIN
View on archive.org
Sources
Taper: Don Pearson and Dan Healy
2:35:45
SBD
Taper:
Don Pearson and Dan Healy
Transferrer:
All Transfers and Mastering by Charlie Miller [email protected] April 17, 2021
SHNID:
gd1988-12-29.152582.UltraMatrix.sbd.cm.miller.t.flac16
Source:
UltraMatrix SBD > Cassette Master (TDK MA-XG)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Adobe Audition 2020 > Samplitude Pro X5 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- Recorded by Don Pearson and Dan Healy -- I used the PCM Master (shind=140701) to cover the tape flips -- This is 152285 24 -> 16 @ 44.1
Taper: Don Pearson and Dan Healy
2:35:45
SBD
Taper:
Don Pearson and Dan Healy
Transferrer:
All Transfers and Mastering by Charlie Miller [email protected] April 17, 2021
SHNID:
gd1988-12-29.152285.ultramatrix.miller.flac2496
Source:
UltraMatrix SBD > Cassette Master (TDK MA-XG)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Adobe Audition 2020 > Samplitude Pro X5 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- Recorded by Don Pearson and Dan Healy -- I used the PCM Master (shind=140701) to cover the tape flips
Transferrer: Charlie Miller
2:44:50
SBD
Transferrer:
Charlie Miller
SHNID:
gd1988-12-29.140701.ultramatrix.sbd.pcm.miller.flac1644
Source:
UltraMatrix SBD > PCM Master (Sony F1/Sony PRO-XL500)
Lineage:
PCM Master (Sony SL-10) > Sony PCM-601ESD > Behringer Ultramatch Pro >Samplitude Pro X3 Suite > FLAC/16
Taper Notes:
View NotesNotes: -- There is a hum that appears in the second set
Taper: PO and Stucco TINA Holmes
2:38:28
SBD
Taper:
PO and Stucco TINA Holmes
Transferrer:
Jamie Waddell and Jason Chastain
SHNID:
gd1988-12-29.137692.sbd.GEMS.flac16
Source:
Healy Matrix -> Beta; Sony L-750ESX-HFB Dynamicron EXCELLENT SUPER HIFI VIDEO CASSETTE-> Sony SLO-1800 STEREO VIDEOCASSETTE RECORDER-> Sony PCM-601ESD DIGITAL AUDIO PROCESSOR-> SP/DIF-> Mytek Stereo 192 Sample Rate Converter-> Upsampled to 44.1kHz/24bit-> SP/DIF-> RME FIREFACE 800-> FireWire 400-> Lenovo K450e Desktop PC-> WaveLab 6.11; Editing and Mastering by Jamie Waddell in Wavelab7; Audition CC 2015 Mastering and Patching by Jason Chastain; Critical Listening Assistance and Track, FLAC, Pack by Norm
Source 5 of 9
2:36:24
SBD
Rating:
8.00 / 3 ratings
SHNID:
gd88-12-29.dsbd-matrix.gardner.7347.sbeok.shnf
Source:
Ultra-Matrix DSBD>DAT>CDR>EAC>HD>SHN
Taper Notes:
View NotesUltra-Matrix DSBD>DAT>CDR>EAC>HD>SHN; via Glenn Gillis; Tony Gardner
Source 6 of 9
2:38:36
SBD
Rating:
7.33 / 11 ratings
SHNID:
gd88-12-29.sbd.popi.6313.sbeok.shnf
Source:
sbd> dats> wav> shn
Taper Notes:
View Notessbd> dats> wav> shn; dat> wav> shn by popi n. feeldz, from Michael Grossman DAT seed
Taper: Ted Mattes
2:41:32
Rating:
9.00 / 2 ratings
Taper:
Ted Mattes
Transferrer:
Scott Clugston and Charlie Miller
SHNID:
gd1988-12-29.141659.fob.schoeps.cmc4.mk4.pcm.mattes.miller.clugston.flac1644
Source:
Source Info: Ted Mattes' (with an assist to Jeff Travitz) Master (FOB) Audience PCM; Schoeps CMC4/MK4 > Sony PCM-F1 with Apogee filters; Transfer Info: PCM (Sony SL-10)> Sony PCM-601ESD > Behringer Ultramatch Pro > Tascam SS-CDR2000 (wav 16-bit/44.1k)> Adobe Audition 3.0 > TLH flac16
Taper Notes:
View NotesNotes: - Thanks to Ted Mattes and Jeff Travitz for the source PCM - Thanks to Charlie Miller for the transfer and coordinating this effort - Thanks to Tony Gardner and Glenn Gillis for the shnid7347 ultramatrix source which supplies a 0:01.8 patch in "Hell In A Bucket" - Other One space included in "The Other One" Mastered by Scott Clugston April 6, 2018
Taper: OldNeumanntapr
2:36:25
Taper:
OldNeumanntapr
Transferrer:
OldNeumanntapr
SHNID:
gd1988-12-29.168691.akgd190e.ont.flac1644
Source:
OTS; AKG D-190E Dynamic Cardioids (ORTF) >Sony WM-D6C >(patch) >Sony WM-D6C [MX90]
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 [Tape Flips] & Fades) >FLAC (Level 8) + Tags Via xACT 2.53
Taper Notes:
View NotesOldNeumanntapr Notes: This was the first show that I recorded with my, at the time, brand new Sony WM-D6C PRO. I had purchased an adapter to convert the 1/4' phone plugs from my microphones to work with the 1/8" stereo microphone input but I had inadvertently bought a headphone adapter and didn't realize that it only worked in one direction and was not compatible for my purpose. I was frantic when sound checking my gear to find that I was only getting one channel so I had no choice but to take a patch from the taper to my left who was also using a D6 and running AKG microphones. A BIG thanks to whoever that taper was, because I have long ago forgotten. I have ticket stubs, and my ex wife Nikki's handwritten set list in my setlist book, for the previous night's show on December 28 at the Coliseum, so I was definitely there, but I have no idea why I didn't at least try to record that one. I also included scans of those stubs, along with that set list, with this show from the 29th. It's a mystery that I have no memory at all of. I definitely remember the 29th show as being the first time I had taken a patch from another taper (I liked to be self contained and use my own microphones) but if I was to have discovered that I had a problem with the cables for my new D6 I would have thought that it would have been apparent the night before on 12/28. I always tried to record every show I went to, starting with the Mother's Day show at the Frost on 5/11/86. If I had found the problem with the microphones at the first show, I don't know why I didn't at least try to get a patch the night before, but maybe I wasn't able to buy the adapter until the 29th. Who knows. (These things bother me.) ;) After recording the 12/29/88 Dead show at the Coliseum, and apparently watching the 12/28/88 show, we trouped off to San Francisco on the 30th to see Hot Tuna acoustic at the Fillmore on the off night. I didn't attempt to record that one because I still didn't feel comfortable attempting a stealth recording yet, (my first stealth show wasn't until Miles Davis at Cal Poly SLO in 1990), but I helped out my friend Dick who took in his Marantz PMD-430 in while ace bandaged to his lower back and padded with hotel towels. The doorman kept patting him down and said, 'You're really tight. Do you work out?' and he said 'Yeah'. Too funny! My friend Taper Ron tried to bring his D6 into the Fillmore and they found it on the pat down and made him bring it back to the truck. I remember the bouncers that kept coming by and shining flashlight beams under all the cocktail tables, where we were sitting. I don't know if they were looking for drugs, alcohol, or taping gear, or maybe any and all of the above. At the end of the show I took the master tape out with me because Dick, Dave, and their friends were also staying for the late show and all Ron, Nikki and I had tickets for was the early show and Dick wanted the master tape from the early set to be safe. Looking back now his recording was really poor and I was happy to eventually find digital soundboards of both the early and late Tuna sets. On the way back to Oakland we stopped at Giant Burger for a late dinner. We recorded the Dead's New Year's Eve show off of KFOG FM from Ron's house in Oakland, so at least I felt I was a part of all of those shows in that run. Later, I bought good quality Switchcraft adapters to use my Superscope EC7s with my new D6 and was all set for the February '89 Kaiser Dead shows. I think this was the first time that I used Metal Tape, as my Sony TC-153SD was built before that formulation was available.
Taper: Greg Holtz
2:26:37
Taper:
Greg Holtz
Transferrer:
Brion Green
SHNID:
gd1988-12-29.fob.nak100.holtz.lmpp.98925.flac16
Source:
2 Nak 100's w/ CP-4 Guns > Sony D5
Lineage:
MAC > Nak dr-1 > 24/96 Wave > Wavelab 5 > UAD Plugs > R8Brain Pro > Izotope Ozone 3 (mbit ) > 16/44.1 Wave > cd wave > flac 16 > TLH ( lvl 8 )
Taper Notes:
View NotesNotes: - Another fine show. Thanks To Greg for supplying yet another aud source to fight the plauge of sbds - Tape flips crossfaded where needed - Patches (from shnID 7347) are some between song crowd/tuning and: D1t02 apprx. 0:35-0:50 - No music missing at the end of NFA. Sounds like the tape was paused during the crowd chant and started back during the tune-up, shortly before Quinn starts.