The Music Never Stopped | 1990-09-14 | Grateful Dead

2:57:23
SBD
Rating:
10.00 / 1 rating
Transferrer:
hansokolow
SHNID:
gd1990-09-14.mtx.hansokolow.97443.flac16
Source:
matrix of DSBD: shnid=74405 and DAUD: shnid=88942 by hansokolow using ProTools
Taper Notes:
View NotesThis is a matrix, done by hansokolow in ProTools, of the following digital sources:

SBD: shnid=74405

Recording Info:
SBD -> Dat (44.1k)

Transfer Info:
Dat (Sony D8) -> VX Pocket 440 -> Sony Vaio C1VP -> 
Samplitude Professional v7.02 -> FLAC

All Transfers and Mastering By Charlie Miller
[email protected]
July 8, 2006

Notes:
-- Seamless transition between Discs 2 and 3
-- A few spots of diginoise in 2nd Set patched with Cassette Master SBD

-----------------------------------

AUD: shnid=88942

Ambient Recording by Sean Weber & Rick Katseff
B&K 4011's ORTF -> Grace pre -> Panasonic SV250 line-in
Tapers From Hell - A Journey to the Impact Zone
FOB near center (seat assignments not noted on tape card)

From the tdarian masters, but, recorded by, Sean Weber & Rick Katseff
tdarian was not yet in town for this opening night of the run, but had sent his mics ahead of time, (these mics were still a brand new release for B&K). tdarain joined forces with Sean and Rick for day two (09-15) The rest of the run, with the B&K's is credited to tdarian, John Corso, and Rick Katseff

"My primary crowd control weapon: Backstage passes to send the loud
mouths away"..... "with "Barry" the usher keeping the crowd as quiet as he could. And covering the mic stand from the aisle side "

transfer and edit notes:
Tascam DA20mkII 48k DAT master -> Tascam CDRW700 with Marigo Audio Labs coaxial spdif cable, with dither to 44.1khz, on-the-fly, by the Tascam 700
+6dB digital gain added in the transfer from DAT to CDR master.
CDR master transfer by Mike French (TFH), in apprx. 2002
compiled for FLAC by Mike French, on 2007-11-28

-----------------------------------

hansokolow's notes:  For a digital soundboard with several solid digital audience copies to choose from, this matrix presented a lot of problems.  While I like the sound of Dave Brotman's FOB source over this one, I had trouble lining it up exactly with the DSBD (sometimes that happens), and the result was a constant, slowly changing atmospheric quality that was unacceptable.  I switched to this DAUD and things lined up much better.  This DAUD has level adjustments in the opener, Feel Like A Stranger, and I counter adjusted to try to account for that.  This DSBD has some limitations.  Although it comes with a decent amount of crowd noise, there is a bit of mutedness to it, which is greatly enhanced by adding the DAUD, imho.  The analog SBD patches all over set 2 created brief phasing and weirdness and are fairly noticeable, but I left it that way, as it is less jarring as pulling out the SBD entirely.  The first instance is at around 9 seconds into Fire On The Mountain, then again at 10:07, at 10:36, for 19 seconds (this is the worst of it), and at 11:16; in Terrapin at 9:24 for 6 seconds, at 9:58 for 4 seconds, briefly at 10:21 and 11:05, and finally at 11:23; in The Other One, at 6:16 for about 4 seconds; in Wharf Rat at 0:41, at 1:07, at 2:36, at 6:28, at 8:41, and at 10:27; and in Sugar Magnolia at 5:21.  Also, hardly an issue, some crowd noise is missing from the DSBD between Fire and Playin'.  Both these FOB sources had a gap of about the same size in Drums, from 1:32 to 3:47, so that section is all soundboard.  The DAUD had some bad digital fuzz in the last few seconds of the encore, so I patched in Brotman's DFOB for that section, from 5:00 to 5:04.