Jam > | 1974-06-23 | Grateful Dead

View Notes---------------------------------------------------------
- Mixed by [email protected]
- FLAC conversion 04-OCT-2012 - Trader Little Helper
- Tagged 04-OCT-2012 - Tag&Rename
---------------------------------------------------------
Audio Patches:
1) To start the show, 3 minutes and 15.442 of tuning was added to SBD1 from AUD1.

2) 3 minutes into Ramble On Rose, .145 seconds was missing from SBD1 and was added from SBD2.

3) 4 minutes into Ramble On Rose, .033 seconds was missing from SBD1 and was added from SBD2.

4) Between Ramble On Rose and Black Throated Wind, 52.409 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

5) Between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 51.573 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

6) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 50.052 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

7) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 10.368 seconds added to AUD1 soundtrack from SBD1 in order to match the soundboard soundtrack.

8) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 1 minute and 31.779 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

9) Between Mississippi Half-Step Uptown Toodeloo and Beat It On Down The Line, 31.343 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

10) Between Beat It On Down The Line and Row Jimmy, 1 minute and 01.994 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

11) About 4 minutes into Row Jimmy, 02.123 seconds was missing from SBD1 right channel and was added from SBD2.

12) About 4 minutes into Jack Straw, 04.277 seconds was missing from SBD1 right channel and was added from SBD2.

13) Between Jack Straw and Let It Rock, 44.364 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

14) Between Cumberland Blues and El Paso, 1 minute and 46.089 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

15) Between El Paso and To Lay Me Down, 3 minute and 07.722 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. This was left on the end of disk 1 with To Lay Me Down the first track on disk 2.

16) Between To Lay Me Down and Weather Report Suite (Prelude), 1 minute and 07.696 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

17) About 2 minutes from the end of Let It Grow, 00.007 seconds of digi-noise was present on AUD1 and was replaced with a patch from AUD2.

18) The audience copy of Seastones was just patched in as Matt used it in his version. There is no other version of this to my knowledge.

19) Between Ship Of Fools and Big River, 20.043 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

20) Between Big River and Black Peter, 1 minute and 01.367 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

21) Between Black Peter and Around And Around, 1 minute and 25.090 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

22) Between Around And Around and Dark Star, 53.668 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

23) About 10 minutes into Dark Star, 12.520 seconds was missing from SBD1 and was added from AUD1.

24) About 18 minutes into Dark Star, 01.020 seconds was duplicated - removed in order for AUD1 and SBD1 to match.

25) Between US Blues and Uncle John's Band, 2 minutes and 16.707 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

26) Between One More Saturday Night, 4 minutes and 22.966 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

27) NOTE: The Jerry Moore Audience came in 24/96 format while both Soundboard came as 16/44 format. Using R8brain Pro, the both Soundboard were expanded to 24/96 so as to facilitate ending up with 24/96 matrix. After matrix was mixed, R8Brain Pro was used to reduce matrix and soundboard to cd compatible 16/44.

28) Matrix\DTS were synced using the Moore Audience as a reference. The sources were well matched soundwise with the both soundboard ran slightly fast as compared with the Moore audience.

-----------------------------------------------------------
Front  
Left Channel -1db SBD
Right Channel -1db SBD

Center
Mixed to mono -1db Matrix

Surround
Left Channel -0db AUD
Right Channel -0db AUD

Sub/LFE
Mixed to mono -1db Matrix
--------------------------------------------------------------
More On DTS

Today's audio standards are moving towards multi-channel
sound, like DTS and Dolby Digital. While the Audio-CD
standard (Red Book) hasn't changed to accommodate these
new sound formats, it is still possible to go around the
specification and to put a 5.1 surround recording on a
regular Audio-CD. To play a DTS-Audio-CD you must connect
your DVD/CD player via a digital cable (optical or coaxial)
to your DTS Dolby-Digital receiver. It is not 100% sure
that your receiver will recognize a DTS-Audio CD, so the
first time you're trying to playback a DTS-Audio-CD you
must do a test to determine if it can. Begin with the
volume very low, start the disc and raise the volume
gradually. NEVER listen to a DTS-Audio-CD through the
analog audio outputs of your CD/DVD player.

Burning Instructions

Burn them the absolute same way as you would burn any
normal Audio-CD from FLAC files.

Brokedown House Production

SOURCE 2 OF 18

3:31:24

SBD

gd1974-06-23.122270.mtx.tobin.flac16

Source:

Matrix 3 Source Mix - SBD1 (shn id 116312)sbd>?>cd Mastered via the Apogee mini me>Mini DAC>FLAC Transfer and Mastering by: Matt Smith + SBD2 (shn id 16780) MSR>DAT>CD w/ MAC>DAT patches + AUD1 (shnid 105755) flac24; aud cassette master, akg d1000e's>sony tc-152, taped by Jerry Moore, transfer/seeded by Rob Berger new 24 bit transfer ~ 1/31/2010 - matrix mixing by Kevin Tobin

Taper Notes:

View Notes---------------------------------------------------------
- Mixed by [email protected]
- FLAC conversion 04-OCT-2012 - Trader Little Helper
- Tagged 04-OCT-2012 - Tag&Rename
---------------------------------------------------------
Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -1
AUD +1

SET TWO

Stereo Matrix
SBD -1
AUD +1
---------------------------------------------------------
Audio Patches:
1) To start the show, 3 minutes and 15.442 of tuning was added to SBD1 from AUD1.

2) 3 minutes into Ramble On Rose, .145 seconds was missing from SBD1 and was added from SBD2.

3) 4 minutes into Ramble On Rose, .033 seconds was missing from SBD1 and was added from SBD2.

4) Between Ramble On Rose and Black Throated Wind, 52.409 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

5) Between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 51.573 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

6) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 50.052 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

7) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 10.368 seconds added to AUD1 soundtrack from SBD1 in order to match the soundboard soundtrack.

8) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 1 minute and 31.779 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

9) Between Mississippi Half-Step Uptown Toodeloo and Beat It On Down The Line, 31.343 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

10) Between Beat It On Down The Line and Row Jimmy, 1 minute and 01.994 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

11) About 4 minutes into Row Jimmy, 02.123 seconds was missing from SBD1 right channel and was added from SBD2.

12) About 4 minutes into Jack Straw, 04.277 seconds was missing from SBD1 right channel and was added from SBD2.

13) Between Jack Straw and Let It Rock, 44.364 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

14) Between Cumberland Blues and El Paso, 1 minute and 46.089 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

15) Between El Paso and To Lay Me Down, 3 minute and 07.722 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. This was left on the end of disk 1 with To Lay Me Down the first track on disk 2.

16) Between To Lay Me Down and Weather Report Suite (Prelude), 1 minute and 07.696 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

17) About 2 minutes from the end of Let It Grow, 00.007 seconds of digi-noise was present on AUD1 and was replaced with a patch from AUD2.

18) The audience copy of Seastones was just patched in as Matt used it in his version. There is no other version of this to my knowledge.

19) Between Ship Of Fools and Big River, 20.043 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

20) Between Big River and Black Peter, 1 minute and 01.367 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

21) Between Black Peter and Around And Around, 1 minute and 25.090 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

22) Between Around And Around and Dark Star, 53.668 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

23) About 10 minutes into Dark Star, 12.520 seconds was missing from SBD1 and was added from AUD1.

24) About 18 minutes into Dark Star, 01.020 seconds was duplicated - removed in order for AUD1 and SBD1 to match.

25) Between US Blues and Uncle John's Band, 2 minutes and 16.707 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

26) Between One More Saturday Night, 4 minutes and 22.966 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

27) NOTE: The Jerry Moore Audience came in 24/96 format while both Soundboard came as 16/44 format. Using R8brain Pro, the both Soundboard were expanded to 24/96 so as to facilitate ending up with 24/96 matrix. After matrix was mixed, R8Brain Pro was used to reduce matrix and soundboard to cd compatible 16/44.

28) Matrix\DTS were synced using the Moore Audience as a reference. The sources were well matched soundwise with the both soundboard ran slightly fast as compared with the Moore audience.

Brokedown House Production

SOURCE 3 OF 18

gd1974-06-23.122269.mtx.tobin.flac24

Source:

Taper Notes:

View Notes---------------------------------------------------------
- Mixed by [email protected]
- FLAC conversion 04-OCT-2012 - Trader Little Helper
-Tagged 04-OCT-2012 - Tag&Rename
---------------------------------------------------------
Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -1
AUD +1

SET TWO

Stereo Matrix
SBD -1
AUD +1
---------------------------------------------------------
Audio Patches:
1) To start the show, 3 minutes and 15.442 of tuning was added to SBD1 from AUD1.

2) 3 minutes into Ramble On Rose, .145 seconds was missing from SBD1 and was added from SBD2.

3) 4 minutes into Ramble On Rose, .033 seconds was missing from SBD1 and was added from SBD2.

4) Between Ramble On Rose and Black Throated Wind, 52.409 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

5) Between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 51.573 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

6) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 50.052 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

7) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 10.368 seconds added to AUD1 soundtrack from SBD1 in order to match the soundboard soundtrack.

8) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 1 minute and 31.779 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

9) Between Mississippi Half-Step Uptown Toodeloo and Beat It On Down The Line, 31.343 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

10) Between Beat It On Down The Line and Row Jimmy, 1 minute and 01.994 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

11) About 4 minutes into Row Jimmy, 02.123 seconds was missing from SBD1 right channel and was added from SBD2.

12) About 4 minutes into Jack Straw, 04.277 seconds was missing from SBD1 right channel and was added from SBD2.

13) Between Jack Straw and Let It Rock, 44.364 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

14) Between Cumberland Blues and El Paso, 1 minute and 46.089 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

15) Between El Paso and To Lay Me Down, 3 minute and 07.722 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. This was left on the end of disk 1 with To Lay Me Down the first track on disk 2.

16) Between To Lay Me Down and Weather Report Suite (Prelude), 1 minute and 07.696 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

17) About 2 minutes from the end of Let It Grow, 00.007 seconds of digi-noise was present on AUD1 and was replaced with a patch from AUD2.

18) The audience copy of Seastones was just patched in as Matt used it in his version. There is no other version of this to my knowledge.

19) Between Ship Of Fools and Big River, 20.043 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

20) Between Big River and Black Peter, 1 minute and 01.367 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

21) Between Black Peter and Around And Around, 1 minute and 25.090 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

22) Between Around And Around and Dark Star, 53.668 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

23) About 10 minutes into Dark Star, 12.520 seconds was missing from SBD1 and was added from AUD1.

24) About 18 minutes into Dark Star, 01.020 seconds was duplicated - removed in order for AUD1 and SBD1 to match.

25) Between US Blues and Uncle John's Band, 2 minutes and 16.707 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

26) Between One More Saturday Night, 4 minutes and 22.966 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

27) NOTE: The Jerry Moore Audience came in 24/96 format while both Soundboard came as 16/44 format. Using R8brain Pro, the both Soundboard were expanded to 24/96 so as to facilitate ending up with 24/96 matrix. After matrix was mixed, R8Brain Pro was used to reduce matrix and soundboard to cd compatible 16/44.

28) Matrix\DTS were synced using the Moore Audience as a reference. The sources were well matched soundwise with the both soundboard ran slightly fast as compared with the Moore audience.

Brokedown House Production

SOURCE 4 OF 18

3:31:24

SBD

Transferrer:

Matt Smith and Kevin Tobin

SHNID:

gd1974-06-23.122255.upg-sbd.smith-tobin.flac16

Source:

sbd>?>cd Mastered via the Apogee mini me>Mini DAC>FLAC Transfer and Mastering by: Matt Smith - Patched and speed corrected version of shnid 116312 by Kevin Tobin

Taper Notes:

View Notes---------------------------------------------------------
- Mixed by [email protected]
- FLAC conversion 04-OCT-2012 - Trader Little Helper
- Tagged 04-OCT-2012 - Tag&Rename
---------------------------------------------------------
Audio Patches:
1) To start the show, 3 minutes and 15.442 of tuning was added to SBD1 from AUD1.

2) 3 minutes into Ramble On Rose, .145 seconds was missing from SBD1 and was added from SBD2.

3) 4 minutes into Ramble On Rose, .033 seconds was missing from SBD1 and was added from SBD2.

4) Between Ramble On Rose and Black Throated Wind, 52.409 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

5) Between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 51.573 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

6) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 50.052 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

7) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 10.368 seconds added to AUD1 soundtrack from SBD1 in order to match the soundboard soundtrack.

8) Also between Black Throated Wind and Mississippi Half-Step Uptown Toodeloo, 1 minute and 31.779 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

9) Between Mississippi Half-Step Uptown Toodeloo and Beat It On Down The Line, 31.343 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

10) Between Beat It On Down The Line and Row Jimmy, 1 minute and 01.994 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

11) About 4 minutes into Row Jimmy, 02.123 seconds was missing from SBD1 right channel and was added from SBD2.

12) About 4 minutes into Jack Straw, 04.277 seconds was missing from SBD1 right channel and was added from SBD2.

13) Between Jack Straw and Let It Rock, 44.364 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

14) Between Cumberland Blues and El Paso, 1 minute and 46.089 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

15) Between El Paso and To Lay Me Down, 3 minute and 07.722 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. This was left on the end of disk 1 with To Lay Me Down the first track on disk 2.

16) Between To Lay Me Down and Weather Report Suite (Prelude), 1 minute and 07.696 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

17) About 2 minutes from the end of Let It Grow, 00.007 seconds of digi-noise was present on AUD1 and was replaced with a patch from AUD2.

18) The audience copy of Seastones was just patched in as Matt used it in his version. There is no other version of this to my knowledge.

19) Between Ship Of Fools and Big River, 20.043 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

20) Between Big River and Black Peter, 1 minute and 01.367 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

21) Between Black Peter and Around And Around, 1 minute and 25.090 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

22) Between Around And Around and Dark Star, 53.668 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack.

23) About 10 minutes into Dark Star, 12.520 seconds was missing from SBD1 and was added from AUD1.

24) About 18 minutes into Dark Star, 01.020 seconds was duplicated - removed in order for AUD1 and SBD1 to match.

25) Between US Blues and Uncle John's Band, 2 minutes and 16.707 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

26) Between One More Saturday Night, 4 minutes and 22.966 seconds added to SBD1 soundtrack from AUD1 in order to match the audience soundtrack. 

27) NOTE: The Jerry Moore Audience came in 24/96 format while both Soundboard came as 16/44 format. Using R8brain Pro, the both Soundboard were expanded to 24/96 so as to facilitate ending up with 24/96 matrix. After matrix was mixed, R8Brain Pro was used to reduce matrix and soundboard to cd compatible 16/44.

28) Matrix\DTS were synced using the Moore Audience as a reference. The sources were well matched soundwise with the both soundboard ran slightly fast as compared with the Moore audience.

Brokedown House Production

SOURCE 5 OF 18

gd1974-06-23.sdb.smith.116312.flac16

Source:

sbd>?>cd</br>Mastered via the Apogee mini me>Mini DAC>FLAC</br>Transfer and Mastering by: Matt Smith

SOURCE 6 OF 18

gd1974-06-23.sbd.matrix-sb21b.chappell.83489.flac16

Source:

Sick Bits Vol. 21b - SBD/AUD Matrix of 2 previously circulating sources: SBD (shnid=213) + AUD (shnid=14265)

Taper Notes:

View NotesSource: Matrix (SBD/AUD mix):

SBD: (shnid=213) - mastered by Josh Belkin

     Lineage: SBD>ReelM>DAT>CassetteM>DAT(3)>Prodif Plus card > 
     Samplitude 2496 > Plextor 820 burner  
     SBD Patch: "Phil's Tape" > ? > DAT(n) >Prodif Plus > Samp2496

AUD: (shnid=14265) - via Noah Weiner(encoding) via Mark Cohen(A/D xfer)
     AudMC > DAT > WAV > SHN

     Recorded by Jerry Moore about 15 rows from the stage on center axis
     with 2 hand held AKG D-1000E mics > Sony 152 deck.  Maxell UD-120
     cassettes, with Dolby B ON.

Transfer/Editing:
Both sources were converted to WAV > 
Sony Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
[email protected]
2-15-07
_____________________________
End disc 1 after To Lay Me Down and end disc 2 after Around & Around.  Seastones
is named s1t19 so as to keep in the order played, although there was a set break
before and after this track. Tracks are named by set as opposed to disc as there 
are many media options now for output.

____________________________________________________________
General Notes:

This show was probably one of those events for those who attended where the 
response afterwards was like "what the hell was that?" - in other words, not
your normal Dead show, festooned with wierd sound effects, in between song 
banter, a Tico Tico tuning, the only Let It Rock, and the first Seastones; all
of this before even the second set which starts with a Jam.  The Dark Star,
which is just a Dark Star jam (last one until 1991), lasts almost 18 minutes,
and is one of only 6 played in '74, and the only one in '74 without vocals.
Spanish Jam makes its first of 7 appearances in '74 after a 15 month hiatus.
The jam into US Blues is classic, and the Casey Jones encore is 1 of 10 in '74.
Two repeats from the night before, Jack Straw and Ship Of Fools, had different
feels, yet I still prefer the 22nd versions.

Sonically, the weird part is the beginning of the show which is a matrix from
the SBD source which finally goes to straight SBD in the middle of Ramble On Rose.
This first portion, which is quite phasey, was left alone and not matrixed with
the AUD source due to the fact it had already been matrixed (by Healy?, real time
at the show? - could this be the first matrix experiment at a Deadshow?).  Also,
Seastones is AUD only.

Thanks to Jerry Moore for recording the AUD at such a perfect FOB location
which picked up alot of Garcia's amp, thus making the matrix work well.  Thanks
to Noah Weiner and Mark Cohen for their conversion of Jerry Moore's masters.
Thanks to Josh Belkin for mastering the SBD source, and thanks to Phil for his
SBD source used as a patch in Belkin's source.

Thanks to Bill Zormeir (AKA Zman) for the excellent artwork.

-Enjoy!
Chappy

____________________________________________________________
Editing Notes:

- Pitch/Synch
Both sources were very close in pitch, the SBD being the closest to A=440.
I synched the AUD to the SBD and the AUD had to be pitched up only 2 to 6 cents. 
The alt. SBD "Phil's tape" which provides the patch in US Blues did not need
to be pitch adjusted, although some EQ was applied to match the regular SBD in
tone/timbre (high shelf starting at 1.5kHz +6dB).

- Sonic Quality/Matrix ratio
No EQ was applied to either of the two main sources. I applied very sparingly
Waves L2 (limiter) to the master 2 buss to keep things contained, the 
levels rarely hitting zero, thus the limiting is quite scarce. All I was 
trying to do here is to add some dimension to the SBD by using the 
ambience of the AUD. The result is a lively but clear recording, hopefully 
close to how it sounded at the show. If I had to guess the SBD/AUD ratio 
would be somewhere between 3:1 and 2:1.  Note that Jerry's presence in the
matrix mix is enhanced greatly from the AUD due to his loud stage volume.

- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline. 

SBD:

s1t01 (0:00 - 3:14) - missing (tuning)
s1t02 (6:18 - 6:51) - missing (tuning)
s1t04 (0:13 - 0:47) - missing (tuning)
s1t04 (1:11 - 1:43) - missing (tuning)
s1t04 (3:19 - 4:34) - missing (tuning)
s1t06>7 (7:43 - 0:02) - missing (tuning)
s1t07 (3:31 - 4:20) - missing (tuning)
s1t08 (7:55 - 9:12) - missing (tuning)
s1t09 (4:08 - 4:09) - missing
s1t09 (5:18 - 5:50) - missing (tuning)
s1t10 (3:26 - 4:09) - missing (tuning)
s1t11 (9:08 - 7:50) - missing (tuning)
s1t12 (4:22 - 5:45) - missing (tuning)
s1t13>14 (7:58 - 0:56) - missing (tuning)
s1t17 (5:21) - removed subsecond glitch
s1t18 (5:32 - 5:44) - missing (tuning)
s2t01 (0:00 - 2:21) - missing (tuning)
s2t03 (6:04 - 6:19) - missing (tuning)
s2t04 (4:44 - 5:39) - missing (tuning)
s2t05 (4:40 - 4:41) - missing (splice)
s2t05 (9:24 - 10:47) - missing (tuning)
s2t06 (5:17 - 6:03) - missing (tuning)
s2t07 (9:07 - 9:16) - missing (flip)
s2t09 (5:08 - 5:30) - supplied by alt. SBD "Phil's Tape"
s2t09 (8:14 - 10:25) - missing (tuning)
s2t11 (4:54 - 8:54) - missing (tuning)
s2t12 (6:40 - 6:50) - missing (tuning)

AUD:
s1t16 (4:17) - fixed sbe
s2t05 (10:50) - removed mic bump


Full coverage is achieved, and almost all the missing elements from the SBD
are tuning/crowd.

SOURCE 7 OF 18

gd1974-06-23.sbd.OBV.30846.shnf

Source:

Soundboard

Lineage:

Remaster of sbd w/ aud patches by Owens Brothers

Taper Notes:

View NotesRemaster of sbd w/ aud patches by Owens Brothers

SOURCE 8 OF 18

gd74-06-23.sbd.cribbs.16780.sbeok.shnf

Source:

Soundboard

Lineage:

MSR> DAT> CD w/ MAC> DAT patches

Taper Notes:

View NotesMSR>DAT>CD w/ MAC>DAT patches

SOURCE 9 OF 18

gd1974-06-23.sbd.sacks.213.shnf

Source:

SBD>ReelM>DAT>CassetteM>DAT(3)>Prodif Plus card > Samplitude 2496 > Plextor 820 burner

Lineage:

See info file

Taper Notes:

View NotesSource Lineage:
SBD>ReelM>DAT>CassetteM>DAT(3)>Prodif Plus card > Samplitude 2496 > Plextor 820 burner
 * AUD >?>FM>cassette>A/D: Panasonic 3700>Prodif Plus>Samp2496
      (Broadcast by WHRB-FM during Grateful Dead Orgy, early 1980's.)
** "Phil's Tape" SBD? >?>DAT(n) >Prodif Plus > Samp2496

Sound processing: 
 AUD source:         
Dehum, Denoise, Timestretched to match SBD speed
 "Phil's Tape" SBD:  Timestretched to match SBD speed

The "Phil's Tape" source is probably the one mentioned in www.deadlists.com,
   "made by Phil with mikes onstage", since the tape has no cuts.
The AUD source is probably the one mentioned in Taper's Compendium  Vol. 1: 
   Jerry Moore & Les Kippel ,  AKG D-200 mikes > Sony 152 deck

Mastered Dec '99/Jan '00 by Josh Belkin   [email protected]


[Additional note on disc assembly from Josh (more details below)]:
 
"Two tracks,  D1T3 and D3T1, don't have song titles. In the case of D1T3,
it's there so that the previous AUD/SBD mixed Ramble On Rose track is the
same length  (well, nearly so, I goofed slightly I guess) as the
straight-SBD RoR at the end of Disk three, so that purists can take out
the mixed RoR and swap in the straight-SBD one if they want to rearrange
the tracks on Disk1.  It was that or else make the straight-SBD RoR about
:58 longer. D3T1 mini-track is there so that I can have a proper track
marker at the start of Dark Star."

--
additional comments from Darrin Sacks:
Date: Fri, 4 Feb 2000 09:29:19 -0700
From: "Darrin N. Sacks"
To: [email protected]
Subject: [etree] Grateful Dead 6.23.74 - Patched has NO noise reduction

Hi,

A newly circulating show has an erroneous info file attached to it --

Contrary to the statement in the info file accompanying the 6.23.74 patched
soundboard that is circulating, the primary soundboard source used for this
show (the SBD>ReelM>DAT>CassetteM>DAT(3)>) that was used for all but a few
short segments was NOT subject to noise reduction.  Although Josh, the guy
who performed the tremendous job of splicing in the cuts on the primary
soundboard from previously circulating audience and alternate soundboard
sources, did digitally process the alternate sources (he time aligned them
and denoised/dehummed them), he did not perform noise reduction on the
primary soundboard source that is circulating on the etree.

This misunderstanding occurred because Josh did perform noise reduction on
the primary soundboard source that he traded to a few of his friends.
However, we collectively decided that the version circulated on the etree &
on alt.binaries.gdead should not contain noise reduction -- and it does not.
Josh accidentally sent out cd covers to the etree and alt.binaries.gdead
seed sources for this show indicating that the primary soundboard source was
processed with noise reduction -- which it was not.

So, please disregard this annotation and don't pass up this gem of a show on
the mistaken understanding that it contains noise reduction.

While I'm on the topic, I should also point out that disk 3 of the show was
redone and re-seeded after its initial seeding to the etree.  The show
should not have been distributed prior to the updated disk 3's seeding, but
its easy to tell if you have the "correct" disk 3 -- it has ten tracks.
Disk 3 was reseeded because, after Josh initially distributed the show, we
discovered that there was a reel flip in the middle of US Blues.  On So Many
Roads, this reel flip was edited out by removing a chunk of the song (see
the liner notes).  On the re-seeded version, this 20 second gap (pretty
impressive timing for re-threading a reel-to-reel deck, imho), was spliced
in from what is believed to be a stage miced version recorded by Phil (the
prior version had a cut at this point).  This is the only difference.

That ought to do it -- given the recent thread regarding the "evils" of
noise reduction, I didn't want this amazing show & work of restoration to be
passed by.  My advice -- download and uncompress a track or 2 (Josh's
blending of the aud source with the sbd source on Ramble On Rose -- d1t1 --
is amazing, and the Dark Star -- d3t1 -- sounds fabulous and allows people
with SMR to compare this source's sound quality to the very same song on
SMR) and decide what to do from there.

Siteops hosting this show -- it would be nice if you modified the info file
to remove the erroneous noise reduction info.

Darrin

SOURCE 10 OF 18

gd1974-06-23.148679.Moore.acetboy.flac1644

Source:

Remaster by acetboy

Taper Notes:

View NotesThis is a new master created from the original files from shn #105755.
Like the first night at this venue it seems like the drums could have been louder.
Maybe they do come through a bit better this night.

For this I worked on the hi-res files but only saved as cd ready.  44.1 16 bit

Work done in ProTools LE with final eq tweaks in ocenaudio.

The original files have the mids around 400 to 500 Hz louder than everything else.
Here I've brought out the low and high end more.

The flac files are tagged.

Much thanks to Jerry Moore and those who have worked to make this music available.

acetboy 2019-12-10

SOURCE 11 OF 18

gd1974-06-23.145674.aud.akg-d1000e.moore.berger.flac16

Source:

source: aud cassette master taped by Jerry Moore lineage: aud>akg d1000e's>sony tc-152sd (3)maxell ud-120's, dolby b cassettes re-shelled

Lineage:

nak dragon>hd-p2 24/96>cd wave>flac transferred & seeded by Rob Berger 1/30/10

Taper Notes:

View Notesnotes: show promoted by Howard Stein

SOURCE 12 OF 18

gd1974-06-23.mtx.seamons.105983.flac16

Source:

Matrix By Hunter Seamons Using Final Cut Pro (flac24 & Shn>aiff>final Cut>wav>flac16)

SOURCE 13 OF 18

gd1974-06-23.mtx.seamons.105867.flac24

Source:

Matrix by Hunter Seamons using Final Cut Pro (FLAC24 & SHN>AIFF>Final Cut>WAV>FLAC24)

SOURCE 14 OF 18

gd1974-06-23.akgd1000e.moore.berger.105755.flac24

Source:

akg d1000e's>sony tc-152

Lineage:

cassette master > cassettes re-shelled > nak dragon>hd-p2 24/96>cd wave>flac

SOURCE 15 OF 18

Owen Brothers remaster of Jerry Moore recording

SHNID:

gd1974-06-23.aud.obv.96890.sbeok.shnf

Source:

AudMC > DAT>CD>DC6>CD

Taper Notes:

View NotesEditing and Mastering by The Wizard - [email protected]
Both the Audience and the Soundboard are available from The Owen Brothers Vault.

This was a nice AUD recording with only minor issues. A light Continuous Noise filter
was used to minimize tape hiss. Equalization was used to
adjust the sound a bit. Cuts were cleaned up.
Misc. loud handclaps, pops and other anomalies were corrected.
All editing done with Diamond Cut DC6 software.

Note: To burn to longer media (DVD-A), leave out "a" and "b" fade tracks.
Please trade freely, never sell. Please don't convert to MP3 and trade... Thanks, Wiz

SOURCE 16 OF 18

Rob Berger and John Tallmadge

SHNID:

gd1974-06-23.aud.moore.berger.84615.flac16

Source:

akg d1000e's>Sony TC-152

Lineage:

aud c.m.>dat>cdr>eac>cd wave>flac

SOURCE 17 OF 18

gd74-06-23.moore.weiner.gdADT.14265.sbeok.shnf

Source:

Audience Recording: AKG D-1000E

Lineage:

AudMC > DAT > WAV > SHN; about 15 rows from the stage on center axis with 2 hand held AKG D-1000E mics > Sony 152 deck. Maxell UD-120cassettes, with Dolby B ON.

Taper Notes:

View NotesAudMC > DAT > WAV > SHN

Recorded by Jerry Moore about 15 rows from the stage on center axis with 2 hand held AKG D-1000E mics > Sony 152 deck.  Maxell UD-120
cassettes, with Dolby B ON.

SOURCE 18 OF 18

gd1974-06-23.aud-merin.weiner.7894.shnf

Lineage:

AUDMR>R>DAT/1>HD>SHN>CD

Taper Notes:

View NotesFrom comment posted by Noah at etree:
Hey all,

This currently circulating copy of this show attributed to the taper Neil Merin is a myth. That reel that I transferred was indeed made by Merin in the 70s for the person I got the reel from. The assumption was made that Merin had taped the show. At the time of the transfer, Merin (and his taping buddy, Jeff Siniawsky) was still missing in action from our community, thus I could only go on the information I was given. Last December, when Siniawsky contacted me for the first time (he and Merin are still quite close), the subject of 06/23/74 produced fuzzy memories that, at the time, couldn't really prove or disprove Merin's recording of the show. He very well could have been in Florida (it is where he and Jeff live now), and certainly could have taped the show, as he and Jeff taped everything else they could that summer. But, time had fogged the facts from being set one way or the other. Well, no longer. have finished the final CDs of Moore's 06/23/74 master, and sure enough, it's the very same recording (though the Merin reel is missing tons of in between song banter, etc...).

I'm sorry for my part in propagating myth. But, at least I wasn't claiming that the thing was taped by Phil with mics on stage. ;-)