1982-07-25 | Grateful Dead

View NotesNotes:
- Thanks to Jim Vita (RIP) for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Jim Wise and Charlie Miller for the Sennheiser 421 source which supplies a 0:06 patch in "Estimated Prophet", patch source not available for "Drums"
- Weir remains on stage with the Billy & Mickey before "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2021

SOURCE 2 OF 15

2:45:41

Taper:

Jim Vita

Transferrer:

Scott Clugston and Charlie Miller

SHNID:

gd1982-07-25.156344.senn421.vita.miller.clugston.flac1648

Source:

Jim Vita's Master Audience Cassettes; Sennheiser 421 mics > Sony D5M (TDK MA-R 90)

Lineage:

Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Jim Vita (RIP) for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Jim Wise and Charlie Miller for the Sennheiser 421 source which supplies a 0:06 patch in "Estimated Prophet", patch source not available for "Drums"
- Weir remains on stage with the Billy & Mickey before "Drums"
- Pitch verified

Mastered by Scott Clugston
December 2021

SOURCE 3 OF 15

gd1982-07-25.fob.senn421.wise.miller.102502.flac16

Source:

(FOB) Sennheiser 421 -> Cassette Master (Sony TC-D5M/Maxell UDXLII-C90/Dolby B)

Lineage:

Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.22 -> FLAC/16

Taper Notes:

View NotesNotes:
-- Set 2 is seamlewss
-- Recorded By Jim Wise
-- Thanks to Jim Wise for lending me his master cassettes
-- Thanks to Joe B. Jones for his help with the pitch correction

SOURCE 4 OF 15

2:49:18

SHNID:

gd1982-07-25.167342.shure.sm57.kelley.miller.clugston.flac2496_202404

SOURCE 5 OF 15

2:49:18

SHNID:

gd1982-07-25.167341.shure.sm57.kelley.miller.clugston.flac1648

SOURCE 6 OF 15

1:34:49

Taper:

Concert recording by Rip Tompkins, & with thanks to Richie Stankiewicz!

Transferrer:

Transferred by Andrew F. 04/2022

SHNID:

gd1982-07-25.156497.s2.beyer.tompkins.flac2448

Source:

BeyerDynamic mics > Sony TC-D5M > TDK MA-90.

Lineage:

Transfer: MAC > Nakamichi CR-5A (Dolby-B in) > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > TLH > FLAC 2448 tagged.

Taper Notes:

View NotesNote: ID-156345 patches; Estimated 8:33 > 9:43, Jam 5:31 > Space
1:15, and the entire encore. Sorry, Tape #1 is missing in action.

SOURCE 7 OF 15

edited and uploaded by Tony Suraci

SHNID:

gd1982-07-25.156388.gardner.suraci.nak300.flac16

Source:

Nakamichi CM304>Sony TCD-5M (Maxell XLllS) Location: FOB, Stand at 6 feet

Lineage:

Nakamichi Cassette Deck 1 (manual azimuth adjust)>Sound Devices Mix Pre 6 @24/48 Editing: SD card>Adobe Audition 3.0>CDwav>TLH>flac24

SOURCE 8 OF 15

edited and uploaded by Tony Suraci

SHNID:

gd1982-07-25.156387.gardner.suraci.nak300.flac24

Source:

Nakamichi CM304>Sony TCD-5M (Maxell XLllS) Location: FOB, Stand at 6 feet

Lineage:

Nakamichi Cassette Deck 1 (manual azimuth adjust)>Sound Devices Mix Pre 6 @24/48 Editing: SD card>Adobe Audition 3.0>CDwav>TLH>flac24

SOURCE 9 OF 15

2:47:54

Taper:

Marc Severson & Anonymous

Transferrer:

Joe Noel and John Ammons and Philly Crew

SHNID:

gd1982-07-25.142278.Severson.WeberSmall.Donaldson.Ammons.Noel.t-flac1644

Source:

Marc Severson & Anonymous Recording (FOB): Nakamichi 700s (DBX II) > Master Cassette > PCM(1); A Philly Crew

Lineage:

PCM > Sony PCM601esd (spdif out) > Marantz PMD661 recorder > Nuendo > Wav 16/44

Taper Notes:

View NotesNotes:
- Thanks to John Ammons for sharing his PCM with us
- originally mastered to PCM with portable DBX box to decode, by Sean Weber Small
- clones made with a pair of Sony SL-HF360 decks, a Sony PCM601, using Sony HG Betamax tapes by Dougal Donaldson
- emphasis decoded
- dc offset removed
- minor eq'ing in Nuendo & Waves q10
- cross fades applied to tape pauses & flips
- When in the desert, under the stars, Scarlet -> Fire
- Estimated turns into a rhythm section jam before The Rhythm Devils take over.

SOURCE 10 OF 15

2:38:47

Taper:

Executive Crew: Kyle Holbrook & Olvy Johnson

Transferrer:

Kyle Holbrook

SHNID:

gd1982-07-25.138609.beyerm201.holbrook.flac2448

Source:

<b/>flac24 48khz</b>source: Master Audience Recording: Beyer M 201c Location: 150 feet from stage|40 ft LOC (on axis with LT stack) Lineage - Beyer M201's (hyper cardiod)in in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ON

Lineage:

Nakamichi LX-5 -> Tascam DR680 @ 24/48Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 equalized with 2 dB overall bass boost below 400Hz & 1.5dB 500-7k mid boost. set 2 equalized with less bass boost.Taped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook

Taper Notes:

View Notes/ Our practice at the time was to stop the recorder after
every time the band stopped. The theory was saving
batteries and tape space. We would learn to record the
entire show by Spring 83! I cut dead space or faded down/up at those cuts
but there are a few harsh stops/starts-apologies from my 21 year old self!

//   Tape flip
* cut drums after 3 minutes


Compton Terrace July 25 1982- mic location- lawn about 150 from stage
We set up a blanket and staked out some space making it known that we were tapers. most of the folks around us were nice and asked how to get acopy and ultimately were respectful of what we were doing. EXCEPT for this one guy behind us who kept screaming loud things including, "I want to f**k your wife" the entire first set. During encore break, he came up to us and apologized saying it was his first Dead show. He thought we were "bootleggers" and until his friends told him we were cool and the band allowed the recording he was loud. He said nothing during set2 and our time was less stressful thinking at least we were getting less crowd noise. Even with modern mixing tools you can still hear this guy on the recording. The complete story of our summer tour can be read in the text file.

SOURCE 11 OF 15

2:38:47

Taper:

Executive Crew: Kyle Holbrook & Olvy Johnson

Transferrer:

Kyle Holbrook

SHNID:

gd1982-07-25.138608.beyerm201.holbrook.flac1644

Source:

<b/>flac16 44 khz</b> source: Master Audience Recording: Beyer M 201c Location: 150 feet from stage|40 ft LOC (on axis with LT stack) Lineage - Beyer M201's (hyper cardiod)in in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ON

Lineage:

Taper Notes:

View Notes/ Our practice at the time was to stop the recorder after
every time the band stopped. The theory was saving
batteries and tape space. We would learn to record the
entire show by Spring 83! I cut dead space or faded down/up at those cuts
but there are a few harsh stops/starts-apologies from my 21 year old self!

//   Tape flip
* cut drums after 3 minutes


Compton Terrace July 25 1982- mic location- lawn about 150 from stage
We set up a blanket and staked out some space making it known that we were tapers. most of the folks around us were nice and asked how to get acopy and ultimately were respectful of what we were doing. EXCEPT for this one guy behind us who kept screaming loud things including, "I want to f**k your wife" the entire first set. During encore break, he came up to us and apologized saying it was his first Dead show. He thought we were "bootleggers" and until his friends told him we were cool and the band allowed the recording he was loud. He said nothing during set2 and our time was less stressful thinking at least we were getting less crowd noise. Even with modern mixing tools you can still hear this guy on the recording. The complete story of our summer tour can be read in the text file.

SOURCE 12 OF 15

gd1982-07-25.137192.nak300.schley.flac1644

Source:

AUD: Nakamichi CM300/CP4 shotguns > Sony TC-D5M > TDK-MA (Set 1), Maxell-MX (Set 2), FOB recording by Brian Schley.

Lineage:

MAC > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > R8Brain > TLH > FLAC 1644 tagged. Transferred by Andrew F. 11/2016

Taper Notes:

View NotesNote: Minor tape damage in left channel, first 2:37 of Candyman. 
ID-80279 patches; Half-Step 0:00 > 0:03, Estimated 8:54 > 9:08, 
Drums 0:15 > Space 0:19. ID-18481 provides the entire Encore track. 
Thanks Jon Pasternak & Charlie McGuth for organizing this project!

SOURCE 13 OF 15

gd1982-07-25.137191.nak300.schley.flac2448

Source:

AUD: Nakamichi CM300/CP4 shotguns > Sony TC-D5M > TDK-MA (Set 1), Maxell-MX (Set 2), FOB recording by Brian Schley.

Lineage:

MAC > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > TLH > FLAC 2448 tagged. Transferred by Andrew F. 11/2016

Taper Notes:

View NotesMinor tape damage in left channel, first 2:37 of Candyman. 
ID-80279 patches; Half-Step 0:00 > 0:03, Estimated 8:54 > 9:08, 
Drums 0:15 > Space 0:19. ID-18481 provides the entire Encore track. 
Thanks Jon Pasternak & Charlie McGuth for organizing this project!

SOURCE 14 OF 15

gd1982-07-25.senn421.vita.minches.80279.sbeok.flac16

Source:

2 Sennheiser 421s> Sony D-5 (TDK MA-R) > MAC

Lineage:

MAC > Nakamichi Dragon > ART DI/O > Digital Audio Labs Card Deluxe soundcard > Cool Edit 2000 > flac encoding > FLAC

SOURCE 15 OF 15

gd82-07-25.fob.18481.sbeok.shnf

Source:

Audience Recording

Lineage:

AUD> ?> DAT> CD> EAC> SHN> WAV> CE2K> CDWAVE> SHNTOOL> mkwACT

Taper Notes:

View NotesLineage: AUD>?>DAT>CD>EAC>SHN>WAV>CE2K>CDWAVE>SHNTOOL>mkwACT. Source possibly Jim Wise FOB. Editing/Tracking/Seeding by JBGoode & MattMan.