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Today In History
June 10th
Years
1995
29.8k
PlaybackListensHours
48h57177
7d2.1k285
30d29.8k4.2k
49 shows
341 tapes
1994
8.7k
PlaybackListensHours
48h2k252
7d1.8k240
30d8.7k1.2k
85 shows
460 tapes
1993
39.3k
PlaybackListensHours
48h2.4k299
7d9k1.2k
30d39.3k5.2k
83 shows
656 tapes
1992
37k
PlaybackListensHours
48h1.5k197
7d4.8k614
30d37k4.9k
57 shows
539 tapes
1991
35k
PlaybackListensHours
48h2.9k419
7d11.7k1.6k
30d35k4.8k
78 shows
973 tapes
1990
38.5k
PlaybackListensHours
48h9.4k1.1k
7d9.3k1.2k
30d38.5k5k
78 shows
1,139 tapes
1989
47k
PlaybackListensHours
48h2.5k304
7d6.5k807
30d47k5.9k
78 shows
1,017 tapes
1988
21k
PlaybackListensHours
48h1.1k133
7d2.7k310
30d21k2.4k
82 shows
882 tapes
1987
33.3k
PlaybackListensHours
48h2k225
7d4.7k520
30d33.3k3.6k
88 shows
1,025 tapes
1986
11.7k
PlaybackListensHours
48h76687
7d1.8k197
30d11.7k1.3k
47 shows
684 tapes
1985
21.3k
PlaybackListensHours
48h1.7k191
7d3.7k437
30d21.3k2.5k
73 shows
1,356 tapes
1984
15.3k
PlaybackListensHours
48h5.4k626
7d2.6k335
30d15.3k2k
67 shows
1,075 tapes
1983
33.4k
PlaybackListensHours
48h1.2k158
7d3k402
30d33.4k4.4k
71 shows
1,069 tapes
1982
41.6k
PlaybackListensHours
48h1.2k143
7d3.8k466
30d41.6k5.2k
63 shows
753 tapes
1981
45.9k
PlaybackListensHours
48h1.8k232
7d4.5k573
30d45.9k5.8k
92 shows
868 tapes
1980
69.5k
PlaybackListensHours
48h2.7k303
7d14.6k1.6k
30d69.5k8.1k
91 shows
794 tapes
1979
22.9k
PlaybackListensHours
48h1.4k206
7d2.9k413
30d22.9k3.2k
79 shows
600 tapes
1978
51.7k
PlaybackListensHours
48h1.9k251
7d5.7k756
30d51.7k7.1k
87 shows
592 tapes
1977
285.6k
PlaybackListensHours
48h17.1k2.3k
7d36.3k5.1k
30d285.6k39.4k
64 shows
419 tapes
1976
50.3k
PlaybackListensHours
48h11.5k1.6k
7d8.9k1.2k
30d50.3k6.8k
45 shows
298 tapes
1975
6.3k
PlaybackListensHours
48h34036
7d1.8k162
30d6.3k644
25 shows
63 tapes
1974
98.8k
PlaybackListensHours
48h4.2k553
7d12.3k1.6k
30d98.8k12.5k
42 shows
324 tapes
1973
79.3k
PlaybackListensHours
48h10.4k1.4k
7d8.9k1.2k
30d79.3k10.1k
75 shows
445 tapes
1972
68.1k
PlaybackListensHours
48h2.1k272
7d6.8k827
30d68.1k8.3k
88 shows
361 tapes
1971
33.5k
PlaybackListensHours
48h1.7k196
7d4.1k452
30d33.5k3.8k
82 shows
357 tapes
1970
45k
PlaybackListensHours
48h1.8k197
7d15.5k1.6k
30d45k4.8k
101 shows
376 tapes
1969
26.5k
PlaybackListensHours
48h1.1k167
7d6.2k1k
30d26.5k4k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h72390
7d1.3k168
30d6.9k870
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h9815
7d27740
30d1.5k206
23 shows
55 tapes
1966
7.8k
PlaybackListensHours
48h41826
7d55340
30d7.8k523
32 shows
78 tapes
1965
576
PlaybackListensHours
48h654
7d885
30d57633
2 shows
2 tapes
1988
12/29/88
Tuning
2:31
Greatest Story Ever Told
6:09
Sugaree
11:38
New Minglewood Blues
9:15
Friend Of The Devil
9:04
Queen Jane Approximately
7:19
Lost Sailor
7:13
Let It Grow
12:55
Tuning
1:42
China Cat Sunflower
7:51
Crazy Fingers >
8:12
Women Are Smarter
8:13
Ship of Fools
3:09
Eyes of the World
8:32
Drums >
9:36
Space >
5:49
The Other One >
6:57
Stella Blue
7:34
Jam
9:15
Not Fade Away
7:50
Quinn The Eskimo (The Mighty Quinn)
5:01
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.