Guelah Papyrus | 1992-04-29 | Phish

2:24:51
SBD
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Taper Notes:
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First Avenue
Minneapolis, MN
1992-04-29

Set I
Source:  audience, Audix cardioids > TC-D5M (mic pre-amp, 
         pass-thru) > Cass/0 (WM-D6C, TDK SA-X, Dolby C)
          
Transfer:  Original master cassettes (Cass/0) played back in JVC TD-V541 
           (dual capstan, 3 head, Dolby C decoding) > Tascam DA-20 
           (pass-thru), SPDIF/optical converter >
           Creative Nomad Jukebox 3 > Firewire > CDWAV > FLAC

Set II
Source: SDBD>CASS0
Transfer: CASS0>HB850>EAC>CDwav>SHN(Chris Jonus)


Taped and transferred (9/2008) by Pat Volkerding <[email protected]>

Set One:
1.  Suzie Greenburg
2.  Foam
3.  Sparkle
4.  It's Ice
5.  Runaway Jim
6.  Guelah Papyrus
7.  Rift
8.  Bouncing Around the Room
9.  Take the A-Train
10. David Bowie > Secret Language Instructions >
11. David Bowie


Set 2: 
1. The Landlady->
2. Possum, 
3. Mound->
4. Oh Kee Pa Ceremony
5. Llama
6. Lizards 
7. Mike's Song->
8.  I Am Hydrogen->* 
9. Weekapaug Groove
10. Cold as Ice-> Love You-> Cold as Ice 
11. Golgi Apparatus 

12. E: Horn
13. Rocky Top 

*Tape flip at the very beginning of the transition to I Am Hydrogen, the track break is the flip point- I have not altered the wavs in any way from the master cassette.



Notes:
A couple of seconds are missing from the beginning of "Suzie Greenburg".  
Sorry for the late start.  There are two short gaps at the end of Rift 
where the taper ahead of me in the chain flipped without warning -- my own 
tape ran out moments before the song ended and needed to be flipped, too.  
Tape flip in the second set as I Am Hydrogen begins.  Paul's deck was 
leading the chain and ran out.  He was busy mixing, so it was a few 
seconds before he could be alerted that the tape needed to be flipped.

Editing: 
Essentially, none.  There was no EQ, digital noise reduction, or other 
digital post-processing applied.  Normalization was achieved with the 
DA-20 level control and level margin indicator (and repeated transfer 
attempts until the levels were just exactly perfect).  Regarding 
"essentially" -- two tracks were taken into Cool Edit for very minor 
repair.  "Possum" -- one pop was carefully removed the first time they all 
sing "Possum" together in the first chorus.  "Love You" had a few pops in 
it, possibly microphone overload (this is evident in the first set 
audience tape, so it was not brickwalling anywhere in the tape chain).  
These pops were removed where Fishman (I mean Henrietta) says "Hello 
Minneapolis" and "Peter" (as in Peter Schall).  There were a couple of 
mild snapping noises during the Electrolux solo, but these were left alone 
as IMHO they are part of the authentic sound.

All tracks have been checked for correct CD sector boundaries.

The story behind this tape lineage:
My friend Brad told me I should come out for this show since it was only 
200 some miles from where I lived, and to bring my deck and cables to 
patch from the board.  So, I didn't bring my mic rig with me.  I got 
there, attempted to stealth my gear in and was caught (only time that ever 
happened -- fooled by the ominous NO TAPING sign)...  told them the band 
said it was OK.  They checked, came back, said something like "Aww, I 
wanted a new tape deck", and let me in.  Col. Bruce Hampton was getting 
ready to play, so I settled down with a beer.  Didn't see Brad anywhere.  
After the set, I talked to Paul and told him Brad said it would be all 
right to patch in.  Paul said he'd have to hear that from Brad.  Well...  
I held out about as long as I could waiting to Brad to turn up, but no...  
so, just as set one began I patched into a D5 that belonged to someone I'd 
just met there.  Some time after flipping the tape during the first set, I 
see Brad and Paul chatting at the board and wander over.

"Hey, got your patch right?"
"No."
(some discussion)
"Want it?"
"Well...  I'd rather not interrupt a rolling tape.  Can I get it for set two?"
"Sure."

So, for set two I was patched out of Chris Kuroda's D6 (and it was also my 
job to run his deck while he handled the lights -- masterfully as always).  
Kind of a shame the first set patch did not materialize, but I'm glad to 
have got what I got.  I checked the other decks and none of them were 
using noise reduction.  I've always liked to use that (dbx usually) and 
leave plenty of headroom, so my guess is that this second set may be a 
sonic upgrade from what previously circulated.  The first set has not, to 
my knowledge, circulated previously as a digital copy of this audience 
master;  only as cassette copies.

When the other audience tapers saw I'd gotten a patch, they all wanted to 
patch with me.  I nearly had to fend them off with a shillelagh.  ;-)  I 
promised some of them copies, but nobody ever contacted me.  Analog copies 
of the whole show were circulated back in the day.  Now, enjoy the whole 
thing direct from the masters.  Remind me not to take 16 years to get 
stuff out next time...