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Today In History
June 8th
Years
1995
30k
PlaybackListensHours
48h58779
7d11.4k1.6k
30d30k4.2k
49 shows
341 tapes
1994
8.5k
PlaybackListensHours
48h781106
7d1.6k231
30d8.5k1.2k
85 shows
460 tapes
1993
37.6k
PlaybackListensHours
48h3.1k409
7d8k1.1k
30d37.6k5k
83 shows
656 tapes
1992
35.2k
PlaybackListensHours
48h2.5k312
7d4.1k528
30d35.2k4.7k
57 shows
539 tapes
1991
40.6k
PlaybackListensHours
48h8k1.1k
7d9k1.2k
30d40.6k5.5k
78 shows
972 tapes
1990
35.2k
PlaybackListensHours
48h3k387
7d6.9k905
30d35.2k4.6k
78 shows
1,139 tapes
1989
47.5k
PlaybackListensHours
48h2.8k353
7d8.7k1.1k
30d47.5k5.9k
78 shows
1,013 tapes
1988
21.6k
PlaybackListensHours
48h1.2k138
7d3.6k417
30d21.6k2.5k
82 shows
882 tapes
1987
37.5k
PlaybackListensHours
48h2.1k230
7d7.5k801
30d37.5k4.1k
88 shows
1,025 tapes
1986
15.2k
PlaybackListensHours
48h84393
7d2.3k260
30d15.2k1.7k
47 shows
683 tapes
1985
21.7k
PlaybackListensHours
48h1.6k188
7d4.9k577
30d21.7k2.6k
73 shows
1,356 tapes
1984
15.8k
PlaybackListensHours
48h995131
7d3.4k441
30d15.8k2k
67 shows
1,075 tapes
1983
33.3k
PlaybackListensHours
48h1.4k190
7d4.1k529
30d33.3k4.4k
71 shows
1,069 tapes
1982
41.7k
PlaybackListensHours
48h1.7k211
7d4.4k548
30d41.7k5.2k
63 shows
753 tapes
1981
52.7k
PlaybackListensHours
48h2.1k274
7d5.6k723
30d52.7k6.6k
92 shows
868 tapes
1980
70.5k
PlaybackListensHours
48h6.6k702
7d10.4k1.2k
30d70.5k8.3k
91 shows
794 tapes
1979
26.1k
PlaybackListensHours
48h1.3k181
7d3.5k489
30d26.1k3.7k
79 shows
600 tapes
1978
59.2k
PlaybackListensHours
48h1.8k242
7d12.5k1.6k
30d59.2k8.1k
87 shows
592 tapes
1977
301.5k
PlaybackListensHours
48h19.1k2.6k
7d34.8k4.8k
30d301.5k41.6k
64 shows
419 tapes
1976
49.4k
PlaybackListensHours
48h3.2k439
7d27.7k3.9k
30d49.4k6.7k
45 shows
298 tapes
1975
5.9k
PlaybackListensHours
48h85382
7d1.5k142
30d5.9k612
25 shows
63 tapes
1974
98.9k
PlaybackListensHours
48h4.6k593
7d12.2k1.6k
30d98.9k12.5k
42 shows
324 tapes
1973
79.9k
PlaybackListensHours
48h4.2k549
7d11.5k1.5k
30d79.9k10.2k
75 shows
445 tapes
1972
76.8k
PlaybackListensHours
48h3k368
7d8.6k1.1k
30d76.8k9.3k
88 shows
361 tapes
1971
34.3k
PlaybackListensHours
48h1.8k198
7d6.2k691
30d34.3k3.9k
82 shows
357 tapes
1970
42.2k
PlaybackListensHours
48h7.8k792
7d15k1.5k
30d42.2k4.5k
101 shows
376 tapes
1969
26.2k
PlaybackListensHours
48h2.2k344
7d5.8k944
30d26.2k3.9k
112 shows
326 tapes
1968
6.9k
PlaybackListensHours
48h37346
7d1.5k181
30d6.9k860
41 shows
125 tapes
1967
1.5k
PlaybackListensHours
48h11016
7d33547
30d1.5k205
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h22817
7d1.1k69
30d8k532
32 shows
78 tapes
1965
573
PlaybackListensHours
48h412
7d1026
30d57334
2 shows
2 tapes
1990
12/27/90
Tuning
1:21
Jack Straw >
5:30
Sugaree
14:59
New Minglewood Blues
8:29
It Must Have Been The Roses
6:52
Queen Jane Approximately
8:26
Loose Lucy
10:39
Cassidy >
6:32
Don't Ease Me In
4:20
Tuning
1:12
Scarlet Begonias >
10:16
Fire On The Mountain
14:29
Estimated Prophet >
13:55
Comes A Time >
8:19
Drums >
13:44
Space >
9:11
I Need A Miracle >
4:40
The Wheel >
4:14
Throwing Stones >
8:22
Turn On Your Lovelight
5:22
Encore Break
1:47
It's All Over Now, Baby Blue
7:17
FIN
View on archive.org
Sources
Transferrer: All Transfers and Mastering by Charlie Miller [email protected] March 16, 2023
2:49:57
SBD
Transferrer:
All Transfers and Mastering by Charlie Miller [email protected] March 16, 2023
SHNID:
gd1990-12-27.164129.UltraMatrix.sbd.air-check.cm.miller.f.flac1644
Source:
Ultramatrix SBD (In-House Broadcast) > Cassette Master (Sony TC-D5M/TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Adobe Audition CC 2022 > Samplitude Pro X6 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- This source has a correct bit rate -- Drums with Hamza El Din -- Tape was labeled "Air Check AD-DA" -- This was a test run for the NYE broadcast -- The deck was patched off a Sony PCM recording rig -- Tape flips covered by an ultramatrix cassette master -- This is 164051 2496 > 1644
Transferrer: All Transfers and Mastering by Charlie Miller [email protected] March 16, 2023
2:49:56
SBD
Transferrer:
All Transfers and Mastering by Charlie Miller [email protected] March 16, 2023
SHNID:
gd1990-12-27.164051.ultramatrix.air-check.miller.flac2496
Source:
Ultramatrix SBD (In-House Broadcast) > Cassette Master (Sony TC-D5M/TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Adobe Audition CC 2022 > Samplitude Pro X6 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- This source has a correct bit rate -- Drums with Hamza El Din -- Tape was labeled "Air Check AD-DA" -- This was a test run for the NYE broadcast -- The deck was patched off a Sony PCM recording rig -- Tape flips covered by an ultramatrix cassette master
Transferrer: Charlie Miller
2:48:12
SBD
Transferrer:
Charlie Miller
SHNID:
gd1990-12-27.138519.ultra.matrix.sbd.miller.flac16
Source:
Ultra Matrix SBD > Cassette Master (Tascam Deck/TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- Drums with Hamza El Din -- Two sets of master were used to make this show complete -- This is 138473 24 bit - 16 bit
Transferrer: Charlie Miller
2:48:12
SBD
Rating:
6.00 / 1 rating
Transferrer:
Charlie Miller
SHNID:
gd1990-12-27.138473.sbd.miller.flac24
Source:
Ultra Matrix SBD > Cassette Master (Tascam Deck/TDK SA-X100)
Lineage:
Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24
Taper Notes:
View NotesNotes: -- Drums with Hamza El Din -- Two sets of master were used to make this show complete
Taper: Paul Tumolo
2:53:10
SBD
Rating:
8.75 / 10 ratings
Taper:
Paul Tumolo
Transferrer:
Charlie Miller and Neil Sturtevant
SHNID:
gd90-12-27.set1-akg-set2-sbd.miller.21928.sbeok.shnf
Source:
Soundboard and Audience Composite
Lineage:
Set One: AKG 460/CK8X (Front Row Taper's Section) -> Dat (Sony D3) -> PCM ->Dat (Sony R500) -> Samplitude v7.02 Professional -> SHNSet Two: SBD -> Dat -> SHN
Taper Notes:
View NotesSet One: AKG 460/CK8X (Front Row Taper's Section) -> Dat (Sony D3) -> PCM -> Dat (Sony R500) -> Samplitude v7.02 Professional -> SHN Set Two: SBD -> Dat -> SHN Recorded By Paul Tumolo Transfered By Charlie Miller and Neil Sturtevant
Transferrer: Bill Tetzeli
2:53:08
SBD
Transferrer:
Bill Tetzeli
SHNID:
gd1990-12-27.aud-sbd.tumolo.miller.tetzeli.fix-21928.76115.sbeok.flac16
Source:
Fix of shnid 21928
Taper Notes:
View NotesJust some minor surgery here - I used the AUD from archive.org (shnid 28385) to patch in a brief gap in space in order to make the transition between CDs 2 and 3 seamless. There was also a gap from :22 to :42 in the right channel of space which I monized by pasting in the left channel. SHNs were converted to FLACs, shntool used to clean up SBEs. Bill Tetzeli ([email protected]) 7:57 PM 7/18/2006
Transferrer: Tony Gardner
1:44:49
SBD
Transferrer:
Tony Gardner
SHNID:
gd1990-12-27.set2-fixed.sbd.8193.sbefail.shnf
Source:
SBD(matrix)>DAT>CDR
Taper Notes:
View NotesEAC (secure mode with proper offsets) and shn conversion by Tony G ([email protected]) 03/11/02 COMMENTS: during the "Ultra-Matrix" mix, the microphones that are usually used to capture "audience ambience/reactions" were left on for the entire show, so this is actually a "SBD + AUD" recording; there is a pause between Hamza el_Din and "Space" due to equipment being plugged in and Hamza'a percussion set removed from the stage; any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction, jitter elimination, EQ, and quantization noise elimination (when down-converting audio to 16-bit / 44.1kHz for CD-R mastering), were all performed using 16-bit / 96 kHz digital realm processing at Serafin Station Fire The remaining wave file was then transferred to become the updated d1tr03. While examining the latter track, I noticed a millisecond gap at 5:18.410 and corrected the gap. There was no music missing, so the edit corrected the lapse. The updated tracks were then converted back to shn using mkw.
Taper: JC Mahoney, Dan O'Neill;
1:43:26
Rating:
8.00 / 2 ratings
Taper:
JC Mahoney, Dan O'Neill;
Transferrer:
Charlie Miller
SHNID:
gd90-12-27.fob-akg-mahoney-oneill.miller.28385.sbeok.shnf
Source:
Audience: AKG 461's
Lineage:
FOB AKG 460/CK61 (ORTF) > Mike Grace Early Preamp > Dat Master (Casio DA-7/48k) > Dat (Sony R500) > Behringer UltraMatch SRC2000 > SEK'D Prodif Plus > Samplitude v7.02 Professional > SHN
Taper Notes:
View Notesset2; FOB AKG 460/CK61 (ORTF)> Mike Grace Early Preamp> Dat Master (Casio DA-7/48k); Transfer: Dat (Sony R500)> Behringer UltraMatch SRC2000> SEK'D Prodif Plus> Samplitude v7.02 Professional> SHN ; Recorded By JC Mahoney, Dan O'Neill; Transferred By Charlie Miller
Taper: Marcus Buick & Rob Darroch
2:53:19
Rating:
10.00 / 1 rating
Taper:
Marcus Buick & Rob Darroch
Transferrer:
John Ammons and photoleon
SHNID:
gd1990-12-27.138040.BK4011.Schoeps.FOB.Darroch.Katzeff.Buick.Ammons.fix.t-flac16
Source:
<b>flac16/48kHz</b>; source(s): Set I: B&K 4011 > Prolink Cables > Mod Neumann PS > Panasonic SV255; FOB DFC with 6 ft stand; Tapped by Rob Darroch; Set II: Schoeps CMC34 > MIT Cables > Oade PS > Panasonic SV250; FOB DFC hand held by Marcus Buick; Taped by Rick Katzeff and Marcus Buick;
Lineage:
Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optcal) > Mac Mini > Audacity 3.0 at 48K > Wave; By John Ammons from his DAT clone of the masters; Wave > xACT > flac > Audacity > labeled > patched > export multiple > flac 16/44 (level 8); Checksum & tags created in xACT; Note: the original seed of this source had Set 1 at 16 bit 44.1 kHz, Set 2 at 16 bit 48kHz; the fixed version is all 48kHz
Taper Notes:
View NotesThere were a bunch of rigs FOB during set 1, and it was quite casual. Mics on stands were not a problem. During set break, this punk kid with Schoeps (nice to be about 20 and going to shows with your $8,000 taping rig!) didn't completely break down his stand and put the gear away. He left the tripod open so the stand was a couple feet high and draped a coat over the mics. Well, this caught someone's attention, and the bust swept through big time, first getting him and then searching all bags in the vicinity. Everyone was at least busted to some degree, although bits and pieces of rigs made it out before the search. Ultimately Marcus, Rick, and I were able to meet in seats just off the floor shortly before set 2 was ready to start. There we assembled the "back up rig" - listed in the lineage for set 2. The lights went down while we were still to the edge of the floor, but we worked our way back to the original blanket as they were still tuning up. You can hear rumbling noises as Marcus uncoils the mics from the back pack as Rick is starting the deck. When the mics are fulling extended and stable at Marcus' forehead level, the first notes of Scarlet are seconds away. So to get that Comes A Time after such high stress was a monumental thing indeed. - John. Notes: A patch from shnid 076115 was used before tuning, Set II (0:00 - 1:24) & in Drums (1:35 - 6:57) crossfades were added to smooth the transitions. I softened the rumbling on the mics, as they were uncoiled, just a touch. I could have removed much more, but I felt that would be wrong as its as much apart of the show as the music is. No music was effected. - Joe. Grateful to: Rob Darroch, Rick Katzeff & Marcus Buick for recording this show. Grateful to: John Ammons for providing the DAT clones. Grateful to: Charlie Miller for his efforts & sharing shnid 076115 & Bill Tetzeli's additional work on it. last Comes a Time 7/8/87 TOO tease before INAM
Taper: Marcus Buick;Rob Darroch;Rick Katzeff
2:53:19
Taper:
Marcus Buick;Rob Darroch;Rick Katzeff
Transferrer:
John Ammons and Joel Noel
SHNID:
gd1990-12-27.138040.BK4011.Schoeps.FOB.Darroch.Katzeff.Buick.Ammons.flac1648
Source:
<b>flac16/48kHz</b>; source(s): Set I: B&K 4011 > Prolink Cables > Mod Neumann PS > Panasonic SV255; FOB DFC with 6 ft stand; Tapped by Rob Darroch; Set II: Schoeps CMC34 > MIT Cables > Oade PS > Panasonic SV250; FOB DFC hand held by Marcus Buick; Taped by Rick Katzeff and Marcus Buick;
Lineage:
Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optcal) > Mac Mini > Audacity 3.0 at 48K > Wave. By John Ammons from his DAT clone of the masters; Wave > xACT > flac > Audacity > labeled > patched > export multiple > flac 16/44 (level 8); Checksum & tags created in xACT; Set 1 is 16 bit 44.1 kHz, Set 2 is 16 bit 48kHz
Taper Notes:
View NotesThere were a bunch of rigs FOB during set 1, and it was quite casual. Mics on stands were not a problem. During set break, this punk kid with Schoeps (nice to be about 20 and going to shows with your $8,000 taping rig!) didn't completely break down his stand and put the gear away. He left the tripod open so the stand was a couple feet high and draped a coat over the mics. Well, this caught someone's attention, and the bust swept through big time, first getting him and then searching all bags in the vicinity. Everyone was at least busted to some degree, although bits and pieces of rigs made it out before the search. Ultimately Marcus, Rick, and I were able to meet in seats just off the floor shortly before set 2 was ready to start. There we assembled the "back up rig" - listed in the lineage for set 2. The lights went down while we were still to the edge of the floor, but we worked our way back to the original blanket as they were still tuning up. You can hear rumbling noises as Marcus uncoils the mics from the back pack as Rick is starting the deck. When the mics are fulling extended and stable at Marcus' forehead level, the first notes of Scarlet are seconds away. So to get that Comes A Time after such high stress was a monumental thing indeed. - John. Notes: A patch from shnid 076115 was used before tuning, Set II (0:00 - 1:24) & in Drums (1:35 - 6:57) crossfades were added to smooth the transitions. I softened the rumbling on the mics, as they were uncoiled, just a touch. I could have removed much more, but I felt that would be wrong as its as much apart of the show as the music is. No music was effected. - Joe.
Taper: Chris Dusio
2:40:44
Taper:
Chris Dusio
Transferrer:
Chris Dusio
SHNID:
gd1990-12-27.136761.dusio.flac16
Source:
<b/>flac16: </b> Recorded by Chris DusioAT835's>SonyD6>That's Metal Cassette>ZoomF8>Audacity
Taper: Jeff Bowen
2:42:03
Taper:
Jeff Bowen
Transferrer:
Jeff Bowen
SHNID:
gd1990-12-27.127387.nak300.bowen.flac16
Source:
Source: Nakamichi CM-300x3; 2 CP-4 Shotgun Capsules + 1 CP-1; Cardioid Capsule > Boss BX-4 Mixer > Sony WM-D6C (MX-S 100 Masters);
Lineage:
Cassette Masters > Sony TC-D5M > HHb CDR 800 PRO Via Analog i/o > CD Masters > FLAC (Level 8) Via xACT 2.25; Location: OTS; SEC 112; Recorded/Transferred By: Jeff Bowen
Taper Notes:
View NotesTapers Notes: This was (I think) the first show that I used the Nakamichi three-mic mix to record with. There might be a bit of mixing fluctuations in the first set as I adjusted center mic in the mixer. Hamza El Din was awesome to see (and hear) during "Drums". I think that was Ollin Arrageed that he played. It sure sounded like the tapes of the Egypt shows from ’78. I still can’t believe that my friend Jack, who was taping next to me, stopped his D5 during the Hamza El Din portion of the show! I thought that was awesome. He disagreed.
Taper: Da Weez
1:31:38
Taper:
Da Weez
Transferrer:
D5scott
SHNID:
gd1990-12-27.116109.NeumannKMF4.daweez.d5scott.flac16
Source:
Set 2 source: 2 Neumann KMF4 microphones - up front/center> Sony TC-D5M - analog master cassettes;
Lineage:
Sony TC-D5M (original record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac files
Taper Notes:
View Notesnote: ** With Hamza El Din --------------------------------- R.I.P. Sandy - aka "Bigfoot" ---------------------------------