1972-10-21 | Grateful Dead

View NotesI attempted to improve the most annoying aspects of this recording
- Balanced the channels
- improved the volume fluctuations in Truckin'
- Lowered the bass slightly after about 3:44 in Truckin'
- cut out some "dead air"

Notes:
-- Possibly from a Master Cassette
-- Didn't do much to this, just fixed levels and cleaned up cuts
-- This has a horrible mix but it's better than nothing
-- Tape flips in Greatest Story Ever Told and The Other One

SOURCE 3 OF 5

1:17:54

SBD

gd1972-10-21.set2-partial.sbd.miller.94409.sbeok.flac16

Source:

SBD -> Master Reel -> Dat -> CD D

Lineage:

CD -> Samplitude Professional v10.1 -> FLAC (1 Disc Audio / 1 Disc FLAC)

Taper Notes:

View NotesNotes:
-- Possibly from a Master Cassette
-- Didn't do much to this, just fixed levels and cleaned up cuts
-- This has a horrible mix but it's better than nothing
-- Tape flips in Greatest Story Ever Told and The Other One

SOURCE 4 OF 5

gd1972-10-21.122342.sbd-pset2.rbbert.dan-fix.flac16

Source:

SBD -> Master Reel -> Dat -> CD -> DC8; Reworked version of shnID 94453

Taper Notes:

View NotesRevision by Dan McDonald, Sept-Oct, 2012.
Diamond Cut Forensics 8 was used to rearrange the audio.  I used the spectral filter 
for equalization in several different ways.The main goal was to lower the prominence of 
the bass.  Most of the bass was in the right channel, so that was just a reworking of 
the sonic profile for the left channel.  Sometimes, the bass was in both channels.  
In those instances I either left it alone or lowered it (depending on what was going on 
at the time).  Along the way I boosted the highs considerably in both channels.  You 
should be able to hear quite a bit of difference. Booting highs lead to some increases 
in noise.  I decided not to use any noise reduction because the drums/cymbals were so 
low that their signal was about equivalent to the noise level at some points.  In this 
version, you will notice the noise more between songs and when the songs are relatively 
quiet, but you'll also be able to hear the drums, guitars and vocals more prominently.  
I don't specify all the things I did because there were too many changes.

I left the space (tape cut or tape flip in the original) as it was in the source I used.  
There's enough hiss that either the lineage is wrong or the signal was recorded at very 
low levels in the original.

SOURCE 5 OF 5

gd1972-10-21.122383.sbd-pset2.nr.rbbert.dan-fix.flac16

Source:

SBD -> Master Reel -> Dat -> CD -> DC8; this version uses noise reduction; see info file for details

Taper Notes:

View NotesRevision by Dan McDonald, Sept-Oct, 2012.
Diamond Cut Forensics 8 was used to rearrange the audio.  I used the spectral filter for equalization in several different ways.
The main goal was to lower the prominence of the bass.  Most of the bass was in the right channel, so that was just a reworking of the sonic profile for the left channel.  Sometimes, the bass was in both channels.  In those instances I either left it alone or lowered it (depending on what was going on at the time).  Along the way I boosted the highs considerably in both channels.  You should be able to hear quite a bit of difference.  

Booting highs lead to some increases in noise.  I used a continuous noise artifact reduction filter as a last step to enhance listening pleasure for those who are bothered by nasty noise.  If it doesn't bother you, there is a version without the noise reduction.  My take is that no noise reduction is more vibrant sounding, but this version is definitely cleaner in sound.
You should be able to hear the drums, guitars and vocals more prominently than earlier versions.  I don't specify all the things I did because there were too many changes.

I left the space (tape cut or tape flip in the original) as it was in the source I used.  There's enough hiss that either the lineage is wrong or the signal was recorded at very low levels in the original.  
One fun note:  Appears to be a "Rocky Top" tease from Phil at 8:13 into The Other One.