Timber (Jerry the Mule) | 1988-07-30 | Phish

2:16:13
SBD
Dot Net:
8.65 / 50 ratings
SHNID:
1934
Taper Notes:
View NotesPhish
07-30-1988
The Roma
Telluride, CO

Source: SBD
Transfer details below

Taped by Mike Lynch
Unearthed by Niel Ringstad
Transferred by Jeff Goldberg

Set I:
01. All Blues
02. Mr. P.C.

Set II:
03. Funky Bitch
04. Suzy Greenberg
05. She Caught the Katy and Left Me a Mule to Ride
06. Contact
07. Maiden Voyage
08. Corrina

Set III:
09. La Grange
10. On Your Way Down
11. Slave to the Traffic Light
12. Timber (Jerry)
13. Walk Away >
14. Possum
15. Sneakin' Sally Through the Alley
16. Harpua

Set IV:
17. Fluffhead
18. Anarchy
19. Dear Mrs. Reagan
20. Terrapin
21. Run Like an Antelope


Tape Notes:
-Funky Bitch has a tape-flip cut at the beginning of it, and is missing the opening hits
-Corinna has a tape-flip cut, and is missing the ending
-La Grange has a tape-flip cut, and is missing the opening
-Sneakin’ Sally Through The Alley has a tape-flip cut, and is missing the ending
-Harpua’s final few measures are cut
-Fluffhead’s first few measures are cut
-Run Like An Antelope is cut during the height of the jam section, and is missing the reggae section, final lyrics,  and ending (i.e., it’s unfortunately missing the banter Trey tells in the version on Colorado ‘88)

Transfer Process: 
Neil's tapes were played back on a TASCAM 112RmkII (a pro-level, three-head deck with the heads freshly cleaned and demagnetized) using the balanced XLR outputs. The signal was sent into an Apogee ADC, and was recorded into Pro Tools at a bit depth of 24-bit and a sample rate of 96 kHz. Each file was then cleaned-up using RX 6 to remove any low-frequency hum (and harmonic intervals thereof) that had made it onto the cassettes via either the recording equipment itself or the electricity configuration of the venue at the time of the recordings. Any tape hiss or noise that had existed above around 3000 Hz (in order to preserve high-end frequencies from sonic elements such as cymbals and microphone sibilance) was then cleared-out. From there, the waveforms were edited, separated (or combined in some cases) by track, and saved as individual files. Mastering was completed in Ozone 8 in order to ensure consistent equalization, loudness, and normalization amongst the tracks, before the files were finally dithered down to 16-bit, 44.1 kHz (to make them CD-compatible) and uploaded to Dropbox.

Technical Info:
Cassette deck: TASCAM 112RmkII w/ LA-112 balancing kit installed for XLR ports
Analog to digital conversion (ADC): Apogee converters @ 24-bit, 96 kHz
CPU: 4.0 GHz Intel Core i7
OS: macOS Sierra (10.12.6)
DAW: Avid Pro Tools 2018.1
Restoration: iZotope RX Audio Editor 6.10
Mastering: iZotope Ozone Mastering Suite 8.01