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June 16th
Years
1995
30.1k
49 shows
343 tapes
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
1989
7/2/89
Tuning
0:16
Playing In The Band ->
5:25
Crazy Fingers ->
7:38
Wang Dang Doodle
8:11
We Can Run But We Can't Hide
5:25
Tennessee Jed
9:13
Queen Jane Approxamately
6:20
To Lay Me Down
10:58
Cassidy ->
6:01
Don't Ease Me In
3:22
Friend Of The Devil
11:36
Truckin' ->
7:06
He's Gone ->
13:51
Eyes Of The World ->
10:43
Drums ->
8:39
Space ->
9:57
The Wheel ->
5:02
Dear Mister Fantasy > Hey Jude Refrain >
10:47
Sugar Magnolia
10:07
The Might Quinn (Quinn The Eskimo)
5:31
FIN
View on archive.org
Sources
Taper: Ted Mattes
2:41:01
Taper:
Ted Mattes
Transferrer:
John Ammons and Joe Noel
SHNID:
gd1989-07-02.138258.FOB.Scheops.Mattes.Ammons.t-flac16
Source:
Ted Mattes FOB recording: Schoeps CMC42s (omnis spaced 8 feet) > Panasonic SV250; John Ammons
Lineage:
from his DAT clone of the master; DAT Master > Sony PCM601/Beta > DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optical) > Audacity 3.0 at 44K > Wave; Joe Noel Track, Flac, Patch, Pack & Seed: Wave > Audacity > track/label > export multiple > flac 16/44; Checksum & tags created in xACT
Taper Notes:
View Notespatch info: * s1t01: all ** s1t02: 0:20 - 0:23 & 1:05 - 1:09 * (134395) AKG C460b + (99912) Nakamichi CM300/CP4 (both FOB) = (blend) ** (133781) AKG 414-BTL FOB, DAT notes: - Los Lobos opened - Warning: this recording may cause side effects, symptoms including; distraction, utter joy, life reaffirming moments & in rare instances time travel. - This was a quintessential New England summer day. I stood just at the top of the pathway into the stadium for hours with my eyes closed, an index finger checking the wind direction & an extended palm. It was a nice vantage point to hear Los Lobos. Mind you, I was sore I was missing them. Patiently I waited, when "it" happened I opened my eyes finding a very young girl, maybe 8 years old & her mother standing before me with an extra ticket. Her mom said "She insisted you have it." I will never forget it. Not because I got miracle'd but because of the smile on this young girls face. It's forever etched into my memory. While exchanging pleasantries, we walked into the show together, upon reaching the field, Sabrina saw Jan Sawka's stage artwork & gasped. She thought it was beautiful & like that, Mom was off in Sabrina's tow. I saw them later on during The Wheel & Sabrina came & danced with us. When Dear Mr Fantasy hit, Sabrina jumped for joy & sang along. When Hey Jude broke, she erupted again. But it wasn't until The Mighty Quinn encore that Sabrina, who didn't, shockingly, know it. She picked up on the theme immediately & danced like a soldier would march. She was our pied piper there & it was a simple & pure moment. - Joe. Grateful to: - Ted Mattes for this stellar recording - John Ammons for sharing his Archives with us - Dan Tepper, Danny Thomson & Andrew F for their recordings & efforts - Droncit for his efforts on the Thompson pull - Sabrina & her Mom
Transferrer: Remaster by droncit
2:35:40
Rating:
10.00 / 2 ratings
Transferrer:
Remaster by droncit
SHNID:
gd1989-07-02.134395.MOTB.droncit.flac16
Source:
Source: Audience FOB Recording; Media: AKY Recording Supply Custom Wound BASF 100% CrO2 Cassette;
Lineage:
FOB AKG C460b pre's with ck61uls heads > Uher 240 > Nak DR-1 >Apogee 200 Rosetta >Firewire >Apple G5 >Bias Peak(24/96WAV) > Wavelab 5 > Waves L3 Multimaximizer (threshold -3.0 dB/ceiling -0.1 dB) > rendered to 16 bit/44.1 KHz WAV using UV22-HR>CDWAV 1.9 >FLAC (level 8); Taper: Danny Thomson; Transfer: Derek McCabe
Taper Notes:
View NotesDroncit Notes: This was a request for an interesting show in need of an upgrade/restoration. This is my attempt. The original has vocals dominating and the music sounds like it's more in the background. I've tried to bring it up front. I used a mutifilter with a paragraphic equalizer, channel blender, virtual vale simulator, Dynamic noise filter in 'enhancer' mode, and a de-esser. I also concatenated the tracks and re-cut them. All work with DC8.5 Forensics and Traders Little Helper. 9/28/15
Taper: Danny Thomson
2:35:17
Rating:
10.00 / 1 rating
Taper:
Danny Thomson
Transferrer:
Derek McCabe , mastered by Chris Ladner
SHNID:
gd1989-07-02.fob.thomson.motb.81855.sbeok.flac24
Source:
FOB Nak700's > Uher 240 > Master Cassette Maxell XLII 90min.
Lineage:
Playback on Nak DR-1 > Apogee 200 Rosetta > Firewire > Apple G5 > Bias Peak (24 bit/96 KHz WAV) by D.McCabe.
Taper Notes:
View NotesMastering Notes: - Encore from FOB Sennheiser 441s Master AUD from Bill Koucky, transferred on Nak DR-2 > Presonus Firebox @ 24/96, wavelab. - First notes of FOTD/start of second set missing. On Bill's tape this part is also not recorded well with what sounds like a scramble to get things rolling again. - Second set flip at the 45:12 mark during a lull, crossfaded into seamlessness - currently at the 3:12 mark of space, s2t06.
Taper: Danny Thomson
2:35:40
Rating:
8.89 / 9 ratings
Taper:
Danny Thomson
Transferrer:
Derek McCabe , mastered by Chris Ladner
SHNID:
gd1989-07-02.fob.thomson.motb.81459.sbeok.flac16
Source:
Audience FOB Recording
Lineage:
FOB AKG C460b pre's with ck61uls heads > Uher 240 > Nak DR-1 >Apogee 200 Rosetta >Firewire >Apple G5 >Bias Peak(24/96WAV) > Wavelab 5 > Waves L3 Multimaximizer (threshold -3.0 dB/ceiling -0.1 dB) > rendered to 16 bit/44.1 KHz WAV using UV22-HR>CDWAV 1.9 >FLAC(level 8)
Taper Notes:
View NotesNotes: - Encore from FOB Sennheiser 441s Master AUD from Bill Koucky, transferred on Nak DR-2 > Presonus Firebox @ 24/96, wavelab. - first notes of FOTD/start of second set missing. on Bill's tape this part is also not recorded well with what sounds like a scramble to get things rolling again. - Second set flip at the 45:12 second mark during a lull, crossfaded into seamlessness - currently at the 3:12 mark of space, d3t01.
Taper: Tim Alexander
2:36:08
Rating:
9.00 / 2 ratings
Taper:
Tim Alexander
Transferrer:
Bill Tetzeli
SHNID:
gd1989-07-02.fob.alexander.tetzeli.77458.sbeok.flac24
Source:
FOB (Sennheiser 421s > Sony D-5 (Dolby B in) > MAC)
Lineage:
Playback on Nakamichi DR-1 (Dolby B out) > Tascam HD-P2 (24bit/48khz) > WAV > FLAC
Taper Notes:
View NotesPatch SRC: FOB (Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC) > upsampled in real time from 16bit/44.1khz - 24bit/48khz (playback in CE 2K on Inspiron 600m > Edirol UA-1EX > Tascam HD-P2 (24bit/48khz) > WAV) Transferred and seeded by Bill Tetzeli ([email protected]) Known flaws: - Friend of the Devil cuts in at the beginning. This was patched with the Schoeps source from :00 to :14 - Tape flip in Drums. This and a few seconds of slightly degraded tape at the beginning of the second side were patched with the Schoeps source, from 3:50 to 4:14. All patches made in CE Pro with levels matched and crossfades. Quality notes: This is a truly excellent FOB; it's the reason I got into recording at 24 bit, I just didn't know it until now. IMHO this sounds better than the Schoeps source on archive.org (which is still excellent, and used to patch a couple of spots in the second set). First, it sounds like it was taped right in the Phil zone, my door and windows were rattling even with the stereo at moderate volume. Second, Jerry and all the other instruments sound clearer, fuller and warmer, with more definition and separation. It sounds a ghost of a hair's ghost away from being a Healy matrix. Many thanks to Tim Alexander for lending me these phenomenal masters!
Taper: Tim Alexander
2:36:19
Rating:
10.00 / 1 rating
Taper:
Tim Alexander
Transferrer:
Bill Tetzeli
SHNID:
gd1989-07-02.fob.senn421s.alexander.77444.flac16
Source:
FOB (Sennheiser 421s > Sony D-5 (Dolby B in) > MAC)
Lineage:
Playback on Nakamichi DR-1 (Dolby B out) > Tascam HD-P2 (16bit/44.1khz) > WAV > FLAC
Taper Notes:
View NotesPatch SRC: FOB (Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC) Known flaws: - Friend of the Devil cuts in at the beginning. This was patched with the Schoeps source from :00 to :13 - Tape flip in Drums. This and a few seconds of slightly degraded tape at the beginning of the second side were patched with the Schoeps source, from 3:52 to 4:10. All patches made in CE Pro with levels matched and crossfades. Quality notes: IMHO this sounds better than the Schoeps source on archive.org (which is still excellent, and used to patch a couple of spots in the second set). First, it was taped right in the Phil zone and sounds every inch of it - it sounds like starting with Wang Dang Healy cranked up Phil and just left him there. Second, Jerry and all the other instruments sound clearer, fuller and warmer, with more definition and separation. It sounds a ghost of a hair's ghost away from being a Healy matrix. Many thanks to Tim Alexander for lending me these phenomenal masters!