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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
1993
9/28/93
Tuning
2:39
Touch Of Grey>
6:48
Greatest Story Ever Told
5:36
Row Jimmy
12:29
Minglewood Blues
7:40
So Many Roads
6:09
When I Paint My Masterpiece
5:04
Bird Song
12:30
Tuning
1:51
China Cat Sunflower>
7:31
I Know You Rider
5:20
Samson And Delilah>
6:47
Uncle John's Band>
10:06
Playing In The Band>
14:08
Drums>
13:43
Space>
13:45
Attics Of My Life>
5:21
Throwing Stones>
9:46
Good Lovin
8:49
U.S.Blues
5:38
FIN
View on archive.org
Sources
Transferrer: Matrix by Roger Eichorn
2:43:28
SBD
Transferrer:
Matrix by Roger Eichorn
SHNID:
gd1993-09-28.125382.mtx.eichorn.sbeok.t-flac16
Taper Notes:
View NotesGeneral Notes: - Thanks go to everyone who worked on and made available the sources used in this matrix. Obviously, this project would have been impossible without their prior efforts. - Both sets are seamless. - So Many Roads. Technical Notes: - I cleaned up a few imperfections in the SBD source using Izotope RX 2 Advanced. - I lowered the gain of the Larsen source by 4dB, from the beginning of Set 1 through the opening of "Greatest Story," at which point it seems that the taper turned the input down. - I remastered the SBD and the AUD sources individually, prior to combining them. The files were remastered and mixed in Logic Pro 9. They were split in WaveLab LE 7. SBE's were fixed using Trader's Little Helper. - Speed correction (using Izotope Radius in Logic Pro 9): Pujol AUD: -0.075% (speed) / -1 cent (pitch) Larsen AUD: -0.037% (speed) More fine-grained syncing was done manually. - There are several spots during the show at which the SBD and the AUD sources differ in more or less dramatic ways. It seems that some processing was done to the signal coming from the SBD after it was sent to the tape but before it was sent to the speakers. These include: the exploding bass drums at the end of "Touch of Grey" and the beginning of "Greatest Story" on the AUD copies. The most significant spot occurs toward the end of "Row Jimmy": on both of the AUD sources, some sort of reverb is suddenly applied to the vocals, or perhaps the entire mix. (You can hear the crowd react to it.) This change is not on the SBD. The result, as far as this matrix goes, is that it sounds as though the SBD and one or more of the AUD sources have gone out of sync. But they have not. In other words, the matrix is in places more echo-y than I would like, but I know of no way to get rid of the problem, short of cutting the AUD sources entirely, which would obviously defeat my purpose. - During "Throwing Stones," two seconds are missing from the Pujol source. There is no break; the source simply skips ahead two seconds. I fixed the problem. Roger Eichorn [email protected] August 11, 2013
Transferrer: Roger Eichorn
2:41:08
SBD
Rating:
6.00 / 1 rating
Transferrer:
Roger Eichorn
SHNID:
gd1993-09-28.126746.mtx-redo2.eichorn.sbeok.t-flac16
Source:
Matrix from Source 1: SBD Recording Info: SBD -> Dat (48k); Transfer Info: Dat (Sony D8) -> Samplitude Professional v7.02 -> FLAC Source 2: AUD Source: A: NeumannShotguns>DAT;
Taper Notes:
View NotesThis is the *third* matrix of this show that I've released. The first two were released in rapid succession in August 2013 (within a week or two of my first starting to make matrixes). Why am I releasing a new version of the show now? If you compare this release to either of the two earlier ones, you'll have all the answer you need! FRESH LEGS, VOL. 2 (Matrix) freshdeadlegs.wordpress.com/ www.facebook.com/freshdeadlegs/ General Notes: - Thanks go to everyone who worked on and made available the sources used in this matrix. Obviously, this project would have been impossible without their efforts. - This show is one of my personal favorites. It's also a bit of a sentimental favorite, seeing as it was supposed to be my first Dead show. Alas, it didn't work out, and I had to wait still longer before seeing them. It's a very strong show, worthy of your attention even if you're leery of late-era Dead. The highlight of the show is undoubtedly the "So Many Roads," which is the best one I've ever heard by a long shot. The "China Cat/Rider" is also very, very nice: it's got my personal favorite "Wish I was a headlight..." verse. The "Uncle John's Band" has less flubbing of the lyrics than usual; you can tell, if you listen close, that Jerry was into it and was hearing the melody in new ways (as he often did in later years), but had no space to explore because of the harmonizing. The "Attics of My Life" and "Row Jimmy" are both very nice as well, as they often were around this time. Finally, it's got one of my favorite "Drums." Source Notes: - I cleaned up a number of imperfections in the SBD source using iZotope RX 3 Advanced. - During "Throwing Stones," two seconds are missing from the Pujol source. There is no break; the source simply skips ahead two seconds. I fixed the problem. Technical Notes: - The sources were remastered and mixed in Logic Pro 9. Clean-up was done using iZotope RX 3 Advanced. The sets were split in WaveLab LE 7. SBE's were fixed using Trader's Little Helper. - I speed- and pitch-corrected both AUD sources using the iZotope Radius algorithm. Fine-tune syncing was done in Logic Pro 9. Roger Eichorn freshdeadlegs.wordpress.com www.facebook.com/freshdeadlegs/ January 15, 2013
Transferrer: Matrix by Roger Eichorn
2:31:31
SBD
Transferrer:
Matrix by Roger Eichorn
SHNID:
gd1993-09-28.125461.-redo.mtx.eichorn.sbeok.t-flac16
Source:
Matrix of Source 1: SBD Recording Info: SBD -> Dat (48k); Transfer Info: Dat (Sony D8) -> Samplitude Professional v7.02 -> FLAC, Source 2: AUD Source: NeumannShotguns>DAT;
Taper Notes:
View NotesGeneral Notes: - Thanks go to everyone who worked on and made available the sources used in this matrix. Obviously, this project would have been impossible without their efforts. - Both sets are seamless. - So Many Roads. Seriously. Listen to it -- loud. Technical Notes: - The sources were remastered and mixed in Logic Pro 9. They were split in WaveLab LE 7. SBE's were fixed using Trader's Little Helper. Final mastering was done in iZotope RX 2 Advanced. - Speed correction (using the iZotope Radius algorithm in Logic Pro 9): Pujol AUD: -0.075% (speed) / -1 cent (pitch) Larsen AUD: -0.037% (speed) More fine-grained syncing was done manually. - I cleaned up a few imperfections in the SBD source using iZotope RX 2 Advanced. - I lowered the gain of the Larsen source by 4dB, from the beginning of Set 1 through the opening of "Greatest Story," at which point it seems that the taper turned the input down. - During "Throwing Stones," two seconds are missing from the Pujol source. There is no break; the source simply skips ahead two seconds. I fixed the problem. - There are several spots during the show at which the SBD and the AUD sources differ in more or less dramatic ways. It seems that some processing was done to the signal coming from the SBD after it was sent to the tape but before it was sent to the speakers. These include: the exploding bass drums at the end of "Touch of Grey" and the beginning of "Greatest Story" on the AUD copies. The most significant spot occurs toward the end of "Row Jimmy": on both of the AUD sources, some sort of reverb is suddenly applied to the vocals, or perhaps the entire mix. (You can hear the crowd react to it.) This change is not on the SBD. The result, as far as this matrix goes, is that it sounds as though the SBD and one or more of the AUD sources have gone out of sync. But they have not. In other words, the matrix is in places more echo-y than I would like, but I know of no way to get rid of the problem, short of cutting the AUD sources entirely, which would obviously defeat my purpose. Roger Eichorn [email protected] August 16, 2013
Source 8 of 15
2:38:03
SHNID:
gd1993-09-28.172811.mtx.eichorn2025.143772.t-flac1644
Source:
2-Source Matrix by RE Eichorn (July 2025)
Taper Notes:
View NotesBack in 2013, in a fit of youthful enthusiasm, I released several (!) matrixes of this show. They are all garbage, with the possible exception of the final version, which is surprisingly listenable, to my ears. Even so, I believe this new matrix is superior to my old efforts in every way, and I'm releasing it now in an effort to atone for the sonic sins of my past. Why is this matrix superior to my old attempts? The AUD source is newer and better; I have a much more efficient and effective method; and I know a lot more about mixing and mastering now than I did twelve years ago. Is this new matrix perfect? --No. But is it currently the best, most "well-rounded" source available for this show? --Yes, I believe it is. Your mileage may vary, of course. But I hope that anyone who finds their way to this matrix will enjoy it. A late-late-era show, but quite a good one, I think! The So Many Roads is the best ever, for my money, and I think the China Cat > Rider is the definitive late-late-era version. -- Thanks go to everyone responsible for making the sources used in this matrix and for making them available. -- I try to take a "less is more" approach when it comes to mastering (EQ and the like), but in the case of this show, I found that the SBD source was improved greatly by the use of what's called "Dynamic EQ" to tame some of the drums, specifically Billy's bass drum and Micky's aggressive toms. They're much less overpowering now, but without sacrificing the punch of Phil's bass or the power of the low-end in general, I think. I hope you agree. -- A curiosity: I always assumed that '93 SBD recordings simply replicated the mix that was sent to the sound system at the venue, but apparently that's not the case. About 3 minutes into "Minglewood," Vince launches into an organ solo that's almost entirely absent from the SBD, but can be heard clearly (at least at first) on the AUD source.