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Today In History
June 11th
5 shows
52 tapes
Years
1995
30.1k
PlaybackListensHours
48h55374
7d2.4k331
30d30.1k4.2k
49 shows
341 tapes
1994
9.7k
PlaybackListensHours
48h2.1k260
7d2.8k366
30d9.7k1.4k
85 shows
460 tapes
1993
40.9k
PlaybackListensHours
48h2.3k296
7d10.6k1.4k
30d40.9k5.4k
83 shows
656 tapes
1992
38k
PlaybackListensHours
48h1.4k183
7d5.8k743
30d38k5k
57 shows
539 tapes
1991
37k
PlaybackListensHours
48h3.1k430
7d13.8k1.9k
30d37k5.1k
78 shows
973 tapes
1990
42.9k
PlaybackListensHours
48h9.6k1.2k
7d13.6k1.7k
30d42.9k5.6k
78 shows
1,139 tapes
1989
48.2k
PlaybackListensHours
48h2.7k331
7d7.8k968
30d48.2k6k
78 shows
1,017 tapes
1988
21.5k
PlaybackListensHours
48h1.1k134
7d3.2k373
30d21.5k2.5k
82 shows
882 tapes
1987
34.3k
PlaybackListensHours
48h2.1k241
7d5.7k640
30d34.3k3.7k
88 shows
1,025 tapes
1986
12.1k
PlaybackListensHours
48h909102
7d2.1k235
30d12.1k1.4k
47 shows
684 tapes
1985
22k
PlaybackListensHours
48h1.7k199
7d4.4k519
30d22k2.6k
73 shows
1,356 tapes
1984
17.6k
PlaybackListensHours
48h5.7k661
7d4.8k601
30d17.6k2.3k
67 shows
1,075 tapes
1983
34k
PlaybackListensHours
48h1.1k149
7d3.7k487
30d34k4.5k
71 shows
1,069 tapes
1982
42.2k
PlaybackListensHours
48h1.3k154
7d4.3k534
30d42.2k5.2k
63 shows
753 tapes
1981
46.6k
PlaybackListensHours
48h1.9k249
7d5.2k660
30d46.6k5.8k
92 shows
868 tapes
1980
71.2k
PlaybackListensHours
48h2.5k279
7d16.2k1.8k
30d71.2k8.3k
91 shows
794 tapes
1979
23.6k
PlaybackListensHours
48h1.6k228
7d3.6k521
30d23.6k3.3k
79 shows
600 tapes
1978
52.6k
PlaybackListensHours
48h1.9k257
7d6.6k883
30d52.6k7.2k
87 shows
592 tapes
1977
296.7k
PlaybackListensHours
48h16.1k2.1k
7d47.3k6.6k
30d296.7k40.9k
64 shows
419 tapes
1976
54.7k
PlaybackListensHours
48h12.5k1.7k
7d13.3k1.9k
30d54.7k7.5k
45 shows
298 tapes
1975
6.6k
PlaybackListensHours
48h36539
7d2k188
30d6.6k671
25 shows
63 tapes
1974
101.1k
PlaybackListensHours
48h3.8k509
7d14.7k1.9k
30d101.1k12.9k
42 shows
324 tapes
1973
83.3k
PlaybackListensHours
48h11.4k1.6k
7d13k1.7k
30d83.3k10.6k
75 shows
445 tapes
1972
69.3k
PlaybackListensHours
48h2k265
7d7.9k979
30d69.3k8.4k
88 shows
361 tapes
1971
34.4k
PlaybackListensHours
48h1.7k186
7d5k553
30d34.4k3.9k
82 shows
357 tapes
1970
46k
PlaybackListensHours
48h1.7k195
7d16.5k1.7k
30d46k4.9k
101 shows
376 tapes
1969
27.2k
PlaybackListensHours
48h1.1k165
7d6.9k1.1k
30d27.2k4.1k
112 shows
326 tapes
1968
7.3k
PlaybackListensHours
48h67185
7d1.7k223
30d7.3k926
41 shows
125 tapes
1967
1.6k
PlaybackListensHours
48h9115
7d34649
30d1.6k215
23 shows
55 tapes
1966
8k
PlaybackListensHours
48h41026
7d75952
30d8k536
32 shows
78 tapes
1965
595
PlaybackListensHours
48h544
7d1076
30d59534
2 shows
2 tapes
1990
12/27/90
tuning
3:14
Jack Straw ->
5:30
Sugaree
12:22
tuning
2:41
New Minglewood Blues
8:31
It Must Have Been The Roses
6:51
Queen Jane Approximately
6:29
tuning
2:05
Loose Lucy
8:34
tuning
2:05
Cassidy ->
6:34
Don't Ease Me In
3:49
tuning
1:24
Scarlet Begonias ->
10:19
Fire On The Mountain
14:33
Estimated Prophet
13:51
Comes A Time ->
8:24
Drums *
13:46
Space ->
9:13
I Need A Miracle ->
4:40
The Wheel ->
4:19
Throwin' Stones ->
8:22
Turn On Your Love Light
5:26
encore break
3:30
It's All Over Now, Baby Blue
6:47
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" ---------------------------------