1971-04-28 | Grateful Dead

View NotesNotes:
-- Truckin through Bird Song (up to reel flip) from 1st Gen Reel
-- Tom Constanten plays on Dark Star through the end of the show
-- Press conference has a sample rate of 44.1k
-- Thanks to Bill Gadsden for supplying the reels
-- Thanks to Rob Eaton for supplying the patch source
-- Thanks to Neil Sturtevant for rebuilding the dolby unit

SOURCE 2 OF 9

4:39:34

SBD

gd1971-04-28.sbd.miller.106099.flac16

Source:

SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips)

Lineage:

Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k) Mastering Info: WAV -> Samplitude Professional v11.03 -> FLAC/16

Taper Notes:

View NotesNotes:
-- All disc changes are seamless
-- Truckin through Bird Song (up to reel flip) from 1st Gen Reel
-- Tom Constanten plays on Dark Star through the end of the show
-- Thanks to Bill Gadsden for supplying the reels
-- Thanks to Rob Eaton for supplying the patch source
-- Thanks to Neil Sturtevant for rebuilding the dolby unit

SOURCE 3 OF 9

gd1971-04-28.126262.sbd.boswell.smith.flac16

Source:

Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Truckin thru Bird Song is from a second gen reel. Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC; Transfered and mastered by Matt Smith

Taper Notes:

View NotesMatt's note:

bird song, bertha  patched from 16 track source
wharf rat. the other one from alternate sources

Matt's original notes from 114029:
I decided to put this out for a number of reasons but mainly it's a big improvement as to what circulates.  The main reason being Will's reels are in prime condition and have never had to be baked over a number of times.  The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them..  According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973.  Will's are 7.5 ips. and Pat's are 3.3/4 ips.  Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself.  I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility.  We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy!

SOURCE 4 OF 9

gd1971-04-28.sbd.boswell.smith.114088.flac24

Source:

Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0 > FLAC 24 bit; Transfered and mastered by Matt Smith 6/11

Taper Notes:

View NotesMatt's note:

Thanks to Bob Menke for the patch sources

'bird song', 'bertha' patched with 2 track Ramrod source..
'other one > wharf rat' patched with 16 track source..

I decided to put this out for a number of reasons but mainly it's an improvement as to what circulates.  The main reason being Will's reels are in prime condition and have never had to be baked over a number of times.  The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them..  According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973.  Will's are 7.5 ips. and Pat's are 3.3/4 ips.  Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself.  I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility.  We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy!

My notes:
Big Thanks to Matt. Wonderful!!
Thanks to jpc3 for tagging these files
text file created & seeded 06/16/2011 gballen

SOURCE 5 OF 9

gd1971-04-28.sbd.boswell.smith.114029.flac16

Source:

Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0(dithered to 16/44 via 'UV22HR' Apogee algorithim > CD FLAC; Transfered and mastered by Matt Smith

Taper Notes:

View NotesMatt's note:

Thanks to Bob Menke for the patch sources

'bird song', 'bertha' patched with 2 track Ramrod source..
'other one > wharf rat' patched with 16 track source..

I decided to put this out for a number of reasons but mainly it's a big improvement as to what circulates.  The main reason being Will's reels are in prime condition and have never had to be baked over a number of times.  The exact lineage of all the 4/71 FE reels are still a mystery so perhaps we will really never know the whole story BUT some low gen reels @ 7.5 ips. have survived in one piece and these are some of them..  According to the story from Wilson and Pat Lee, Peter Kafer and Bill Gadsden "purchased" the supposed masters from a guy named Buddy Miller(now a country musician) and brought them up to the Northwest for them to copy back in 1973.  Will's are 7.5 ips. and Pat's are 3.3/4 ips.  Nobody for sure knows exactly which were masters since Buddy decided to keep a few for himself which is truly the crux of the mystery or if even Buddy had masters himself.  I realize in some circles this is considered heresy but it's true and until Buddy comes forward and flat out states he had masters this should be considered as a possibility.  We can only now just listen carefully and try to figure it out that way.. Anyhow please enjoy!

My notes:
Big Thanks to Matt. Wonderful!!
Thanks to jpc3 for tagging the files
text file created & seeded 06/17/2011 gballen

SOURCE 6 OF 9

3:22:20

SBD

Transferrer:

refined, patched, retracked and SHN'ed by Chris Frisco at the Frisco Refinery, April 28, 2004.

SHNID:

gd1971-04-28.sbd.frisco.32862.shnf

Source:

MR>R>CDR

Taper Notes:

View NotesTom Constanten appears on Dark Star through NFA



sources:
d01t01 through d01t07 (2:32): MR>R>CDR
d01t07 (6:00) through the end: MR>CDR
except for the following patches:
d01t07 (1:17 - 1:18) patched from altenate SB source 1
d01t07 (2:32 - 6:00) patched from altenate SB source 1
d03t03 (4:37 - 13:07) patched from altenate SB source 2
d03t04 (0:00 - 9:27) patched from altenate SB source 1

all sources were synced to match altenate SB source 1

The following 21 glitches were painstakingly removed without
deleting any of the wav.  Each sector was repositioned,
one by one, until flaw was no longer audible:
d01t07: (5 @ 6:10)
d02t01: (8:17, 8:32)
d02t02: (7:38)
d02t03: (0:00)
d02t04: (4:54)
d02t05: (3 @ 0:00)
d02t06: (5:55, 6:02)
d02t07: (9:18, 2 @ 9:21, 9:31)
d03t02: (1:32)
d03t06: (1:59)

SOURCE 7 OF 9

3:23:23

SBD

Transferrer:

Seth Kaplan and Alan Fink

SHNID:

gd1971-04-28.sbd.kaplan-fink.11257.sbeok.shnf

Source:

Truckin'through Bird Song 02:07.38: MSR>Reel>Alesis Masterlink>CDR Bird Song 02:08.70 through end of show: MSR 7 inch(7.5 ips)Revox A 77>Alesis Masterlink>CDR (previous splices patched via multi- track sources as noted below)

Taper Notes:

View Notes(Extraction and.shn encoding by Seth Kaplan via EAC and MKW.
Accurate extraction and properly aligned sector boundaries 
verified via EAC and .shntool)


Notes:
  * patched w/Skull & Roses
 ** patched w/LAGTGD
*** with Tom Constanten

Truckin'  - 0:19 -/splice > Bill Graham's intro before Truckin'
Bird Song - 0:01.32 splice at source change from initial source to 
            remaining source patched from LAGTGD. 0:03.049 MSR tape 
            glitch prior to second splice removed and patched
            with additional 02:33.63 from LAGTGD. 
Bertha    - cuts at 05:08 - probable reel flip. Cross fade from 04:57-
            05:08 via Cool Edit 2000. 
Other One - 08:47.22 (through end) patched from Skull & Roses with 
            initial 08:37.22 increased by +4db. 
            Cool Edit Quick Filter used to increase frequencies:
            2.9K - 1.5
            7.3K - 4.5
             22K - 7
            Final 00:10 normalised by an average of +3db - +6db via Cool 
            Edit 2000 to adjust the initial edited cross fade on the 
            original Skull & Roses release as well as cut to remove the 
            opening chord of Wharf Rat as heard at the end of the original
            Skull & Roses fadeout which is picked up in the following Wharf 
            Rat patch from LAGTGD.       
Wharf Rat - entire track patched from LAGTGD and normalised to 60%. Sub
            second audience segment overlapped from end of 4/29's Minglewood 
            preceding Wharf Rat on LAGTGD removed to complete the original 
            segue from the Other One > Wharf Rat as heard at the end of the 
            original Skull & Roses fadeout.
General   - several miscellaneous pops during tuneups either prior to 
            or subsequent to Bird Song, Bertha, Hard to Handle and Cryptical 
            Envelopment removed via Cool Edit 2000 click/pop eliminator.

Edits performed by Seth D Kaplan via Cool Edit 2000. 08:37.22 of the Other One 
patch edited by Alan J Fink via Cool Edit as described above. 



The above edits make this classic show musically complete given the good fortune
of having the long missing portions supplied via the official releases. Many thanks
to the Dead, Bill Gadsden, the tapers, Jim Wise and others for getting just about 
all of the great music played during this phenomenal run, out there. 

Seth Kaplan July 27,2002  

Bill Gadsden's story of the April '71 Fillmore tapes:

-*-*-*-*-*-*-*-*- The Story of the Tapes *-*-*-*-*-*-*-*-


"Who's the Dead freak?" With that innocuous question the story of these tapes 
begins. It was the summer of 1973, between attending 6/10/73 at R.F.K. 
Stadium and the Watkins Glen soundcheck. A friend of mine was listening to 
Live/Dead at his parent's house. A local cabinetmaker was working at the 
house and asked the question. He mentioned that he had a bunch of Dead tapes 
from the Fillmore East back at his house. For about a year, three 90 minute 
composites of the 4/71 shows had made their way around taping circles in the 
Princeton, N.J. area, but not the complete shows.
Within hours, Peter Kafer and I were at the cabinet shop with our reel to 
reel decks. What we found when we got there were 11 master reels of the 4/71 
shows, along with a host of other 1st and 2nd generation tapes from the 
Fillmore East of other bands, but also including 9/20/70. Also there were the 
1st generation reels from 11/23/70 at the Anderson Theater.

The 4/26-29/71 master reels were recorded by an individual named Buddy 
Miller, a local N. J. area musician. Buddy has become a very well respected, 
and recorded, Nashville guitarist. He is currently touring with Emmy Lou 
Harris, and can be heard on her current CD, Red Dirt Girl. Buddy was a friend 
of the cabinetmaker and, since he travelled a great deal, the tapes resided 
at the cabinet shop. Buddy was set up to record these shows by a friend who 
was a member of the Fillmore East soundcrew.

These shows were NOT recorded in the same manner as the February '70,the May 
15, '70 show, and  the material from the September 18, 19, '70 shows. For the 
April '71 shows, a feed was run off the soundboard, which was upstairs in a 
balcony box, stageleft. There is a good picture of the soundbooth in Amalie 
Rothchild's book, Live at the Fillmore East. The feed went from the 
soundboard into a broomcloset nearby, literally a broomcloset. Buddy 
remembers a bucket and mop! The feed was mixed down on two little Shure line 
mixers and recorded on a middle of the line Sony deck onto BASF 90 minute 
reels at 7 1/2 ips. There was also a little consumer Dolby B unit used, which 
is why these recordings seem so 'bright'.

We taped everything that summer of 1973 onto BASF reels. The following fall, 
Peter took his reels with him to California to begin his freshman year at 
U.C., Berkeley. From here he met various West coast tapers such as Bob Menke 
and Rob Bertrando, and the tapes began their circulation on the West coast. I 
took mine to Trinity College in Connecticut and began to circulate them out 
East.

Two years later, we wanted to retape the original masters, since we now had 
somewhat better decks and Maxell reel to reel tape had come on the market. We 
recopied everything. At this time, Buddy Miller simply gave us many of the 
Fillmore and Anderson Theater reels for essentially the cost of blank tape. 
His own musical interests had moved on. Of the 4/71 masters, we were given 6 
of the 11 reels and Buddy retained the other 5. I've had these reels in my 
possession since then.

Why has it taken so long for these reels to enter the digital world? 
Basically because I dropped out of the whole tape collecting scene about 1980 
due to family, career, etc. 

However, two of my old taping buddies, Bernie Tenenbaum and Chris Zingg, 
implored me to get my reels digitized before the analog reels degraded. 
Fortunately they had been safely stored in cardboard boxes, away from heat 
and light, in the back of a closet. I knew nothing of the digital world, 
didn't have a DAT or CD machine, had no idea what a tree or a 'B and P' was, 
and was absolutely amazed at how big the community of collectors had become. 
When I effectively left it at the end of the '70s, it was really only a 
handful of people.

This past Spring I reconnected with Buddy Miller for the first time in over 
20 years. He actually was able to dig up 2 of the 5 original BASF masters 
that he had hung onto, and mailed them up to me. With 8 of the original 11 
now in hand, and my complete set of Maxell 1st gen. copies  to fill in the 
blanks for the still missing 3 masters, I digitized the shows. The missing 
reels, #'s 4, 5, and 6,  run from 4/27 Hard to Handle through the pre-break 
portion of Bird Song on 4/28. For this I used the Maxells. Along the way, I 
was directed to Jim Wise for advice and assistance in digitizing and getting 
the shows out into the community.

I transferred the shows to CD incorporating the New Riders sets, instead of 
treating them discreetly. I really believe that the performances should be 
considered in their entirety. Back in the '70s when these shows got 
circulated, the Riders sets got ignored after awhile, which was a shame. They 
are a lot of fun to listen to, and a great warmup for the Dead show to follow.

The reels were played on a Revox A77 and digitized directly onto an Alesis 
Masterlink ML9600, sampling at 16 bit, 44.1 k. The Alesis was a wonderful 
solution for someone in my position, sitting on a bunch of reels. It removed 
the intermediate step of re-recording everything onto DAT. For those who are 
curious about the Masterlink, check it out at www.alesis.com.

One final bit of information that makes this whole 27 year story all the more 
fascinating is that these 2 track masters were used for the recent 16 track 
release, Ladies and Gentlemen....The Grateful Dead. While the 16 track 
recordings had Bill Graham's introduction and his tribute/tirade speech 
before In the Midnight Hour on 4/29, it was not nearly as strong and present 
as it was on the 2 tracks for some reason.Through an introduction facilitated 
by Jim Wise, Jeffrey Norman and David Lemieux asked if I could send out the 2 
tracks to be used on the release. With 5 days to go before the production CDs 
were due at the printing plant, I FedEx'ed them out and they were used for 
those two Bill Graham pieces. A wonderful chapter after all these years.

There has always been a question about 4/25/71. The BASF master labelled #1 
begins with Big Boss Man from 4/26. Back in 1973 we saw nothing of any taping 
of 4/25's show. I have asked Buddy about it and, after 29 years, he doesn't 
believe he recorded it, which would be consistent with 4/26 being #1. Just a 
guess: since the record company was there to record the run, our 
surrepticious broomcloset tapers just lay low the first night to make sure it 
was clear to try to tape. I know there has been a high-gen fragment of 4/25 
that has circulated for years that supposedly came from cassette masters that 
were also made of these shows. While anything is possible, if this were true 
one would have to wonder why no material from cassette has ever surfaced of 
any of the other 4 nights. The mystery remains, but one day I am gonna have 
to put this mystery to rest.

I hope everyone enjoys these new and improved versions of the 4/71 Fillmore 
East shows.  They have always been the heart of my Dead collection and many 
others as well, I suspect.

Bill Gadsden

SOURCE 8 OF 9

4:29:30

SBD

Source:

Workin' Man Blues through the cut in Bird Song: MR>R>CDR the cut in Bird Song through the end: MR>CDR

Taper Notes:

View NotesGlitches:
d2t05 0:19 - pause/splice? (between songs) (Truckin')
d2t10 1:17 - dropout/splice? (Bird Song)
d2t10 3:01, 3:03 - some tape problem
d2t10 3:37 - background static
d3t06 5:07 - reel flip?, rest of song missing (Bertha)
d4t04 4:29 - end of reel?  rest of song (and Cryptical?) missing (Other 1)

SOURCE 9 OF 9

gd71-04-28.sbd.murphy.2248.sbeok.shnf

Source:

Soundboard

Lineage:

SBD > MR > (Reel post-Bird Song) > Alesis Masterlink > CD-R

Taper Notes:

View NotesMSR > (Reel post-Bird Song) >Alesis Masterlink> CD-R; via Bob Murphy; see details in info file; see Bill Gadsden's <a href="http://db.etree.org/shninfo_detail.php?shnid=1858" rel="nofollow">detailed commentary</a> in pub comments for 4/29/71; note <a href="http://mars.dead.net/site/images/music/4075/4075s.html" rel="nofollow">4 CD best-of-run</a> is available from <a href="http://www.gratefuldead.com" rel="nofollow">the Dead</a>

The new Vault release, "Ladies and Gentlemen, the Grateful Dead" is a compilation of all five shows from the April '71 Fillmore East run. LAGTGD is from the multitrack masters and is commercially available on Arista, or from GDM at http://mars.dead.net

For the obsessive completist collectors, here are the complete 4-28-71 NRPS & Dead sets from the two-track masters. Garcia plays pedal steel on the NRPS set.

Errata: There is a splice in the middle of Bird Song. The end of Bertha is cut. The Other One is cut at the end and Wharf Rat is missing (but appears on LAGTGD)

shn conversion and ftp uploading by Bob Murphy