I Need A Miracle > Crazy Fingers Jam > Jam > | 1982-07-29 | Grateful Dead

View NotesNotes:
- Thanks to an anonymous benefactor (you know who you are) for the source 16/48 .wavs
- Pitch corrected

Mastered by Scott Clugston
March 2024

SOURCE 2 OF 17

1:16:32

SBD

gd1982-07-29.167264.2nd.set.partial.sbd.clugston.flac16

Source:

Master Soundboard Cassette > ? > C > C > PCM

Taper Notes:

View NotesNotes:
- Thanks to an anonymous benefactor (you know who you are) for the source .wavs
- Thanks to Scott Wiseman for the AKG SE-5E source which supplies a 0:10 patch in "The Other One > Goin' Down The Road Feeling Bad" transition
- Other One space included in "The Other One"
- Pitch verified

Mastered by Scott Clugston
March 2024

SOURCE 3 OF 17

Scott Wiseman and Scott Clugston, Charlie Miller

SHNID:

gd1982-07-29.167229.akg.se5.wiseman.miller.clugston.flac2496

Source:

Scott Wiseman's Master Audience Cassettes; AKG SE-5E mics with CE-1 cardioid capsules > Sony TC-D5 (Maxell UDXLII 90)

Lineage:

Master Cassettes (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2023 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Scott Wiseman for the source cassettes and transfer
- Thanks to Charlie Miller for coordinating this effort
- Thanks to Jim Wise for the Sennheiser 421 source which supplies a 0:13 patch in "Drums", as well as an 0:08 patch in "Around & Around"
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
September 2023

SOURCE 4 OF 17

Scott Wiseman and Scott Clugston, Charlie Miller

SHNID:

gd1982-07-29.167228.akg.se5.wiseman.miller.clugston.flac1648

Source:

Scott Wiseman's Master Audience Cassettes; AKG SE-5E mics with CE-1 cardioid capsules > Sony TC-D5 (Maxell UDXLII 90)

Lineage:

Master Cassettes (Nakamichi LX-5) > MOTU M4 > Macbook Pro > Audacity (.wav 24-bit/96k) > Adobe Audition 2023 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Scott Wiseman for the source cassettes and transfer
- Thanks to Charlie Miller for coordinating this effort
- Thanks to Jim Wise for the Sennheiser 421 source which supplies a 0:13 patch in "Drums", as well as an 0:08 patch in "Around & Around"
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
September 2023

SOURCE 5 OF 17

gd1982-07-29.135533.BeyerM160-Senn421.streeter-miller.flac16

Source:

Recording Info: (FOB) (2)Beyer M160's + (1)Sennheiser 421 -> Cassette Master (Sony TC-D5M/TDK MA-C90/Dolby B); Transfer Info: Cassette Master (Nakamichi CR-7A/Dolby B) -> Korg MR1000 (24bit/96k) -> Samplitude Professional v11.2.1 -> FLAC/16; Recorded By Frank Streeter; Transfered By Neil Sturtevant; Mastered By Charlie Miller

SOURCE 6 OF 17

gd1982-07-29.135532.BeyerM160-Senn421.streeter-miller.flac24

Source:

Recording Info: (FOB) (2)Beyer M160's + (1)Sennheiser 421 -> Cassette Master (Sony TC-D5M/TDK MA-C90/Dolby B); Transfer Info: Cassette Master (Nakamichi CR-7A/Dolby B) -> Korg MR1000 (24bit/96k) -> Samplitude Professional v11.2.1 -> FLAC/24; Recorded By Frank Streeter; Transfered By Neil Sturtevant; Mastered By Charlie Miller

SOURCE 7 OF 17

gd1982-07-29.fob.senn421.wise.miller.102569.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:
-- Disc change is seamless
-- 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 8 OF 17

2:33:05

Taper:

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

Transferrer:

Transferred by Andrew F. 04/2022

SHNID:

gd1982-07-29.156430.beyer.tompkins.flac2448

Source:

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

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: Possible match to ID-135532, not sure. ID-142568 patch
covers first 14 seconds of Cold Rain & Snow. No patch available
for Drums > Space transition, small fades added at track break.

SOURCE 9 OF 17

2:29:56

Taper:

Sean Weber Small and Dougal Donaldson

Transferrer:

Joe Noel and John Ammons and Philly Crew

SHNID:

gd1982-07-29.142568.Anon.Severson.Weber-Small.Donaldson.Ammons.Noel.t-flac1644

Source:

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

Lineage:

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

Taper Notes:

View NotesNotes:
- Thanks to John Ammons for sharing his beta with us
- Props to the Philly Crew, they get it done.
- Thanks to Jim Wise & Charlie Miller for the patch source
- 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
- additional processing done in Audacity
- cross fades applied to tape pauses & flips
- pre drums jam has shades of Crazy Fingers & TOO
- Red Rocks in the rain, after three days of bad Front Range weather, the PA is tired.

SOURCE 10 OF 17

2:22:39

Taper:

Executive Crew: Kyle Holbrook & Olvy Johnson

Transferrer:

Kyle Holbrook

SHNID:

gd1982-07-29.138615.beyerm201.holbrook.flac2428

Source:

<b/>flac24 48khz</b> Source Audience Recording: Beyer M 201c Location: 110 feet from stage|DFC (1st row behind soundboard)

Lineage:

Beyer M201's (hyper cardiod)in brim of straw cowboy hat >> Sony TCD5M w Maxell XL-II, Dolby B ONPlayback: Nakamichi LX-5 ->Marantz PMD 661|SD card 24/96Processing:SD->Audacity (Windows 7)-> CDWav editor ->TLH (flac) set 1 All but Minglewood: equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boost. set 2 equalized with 3-4 dB overall bass boost below 400Hz & 1-2 dB 500-2.4k mid boost & 5-10K 1-2 dB boostTaped by; Executive Crew: Kyle Holbrook & Olvy JohnsonTransferred by Kyle Holbrook

Taper Notes:

View NotesNotes:
// tape flip
* Missing start
+ feedback from PA 46:40ish
# Missed some drums, we would start when Jerry, Bob,
and Phil came on stage.
/ 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!

Due to steady rain all show there are some PA problems set 1.
The PA issues are on other AUD recordings; they sound like clipping issues all through the show (speaker distortion during high SPL's).
Set1: PA Levels vary & sound muddy during Minglewood. Clears up at FOTD.
Set2: PA sound didn't settle in until Samson


Red Rocks Amphitheatre Morrison CO Night 3 SUN July 29 1982
mic location- 110 feet from stage dead center (first row behind soundboard)
 We had found Olvy a SUN ticket the day before and were finally able to absorb the park, take it in a bit, go to the visitors bureau hut and such before heading in a bit late for us. We wound up directly behind the soundboard in the midst of several other tapers. This was the first time we met and spoke with other tapers. Which resulted in the first time we felt embarrassed or out of place with our straw cowboy hat "mic stand".  One guy mentioned we should buy a stand and we started thinking about it after that.

This show was the ultimate wrapping up of a three day run in a magical location like Red Rocks. Phil's bass was booming- but perfectly clear, Jerry's leads were soaring and Bobby was in great form. But it RAINED - both sets! Even the Dead's vaunted sound crew had problems with the PA, crackling can be heard on all recordings made of this show. All in all, the sound quality of this tape, and others on the LMA, are pretty good, considering it rained the entire show. The second Other One in 3 days had the tour heads buzzing and the entire atmosphere was electric. I'm pretty sure this is when I got the bug to go on tour and tape as many of these things as I could. The complete story of our summer tour can be read in the text file.

SOURCE 11 OF 17

2:22:39

Taper:

Executive Crew: Kyle Holbrook & Olvy Johnson

Transferrer:

Kyle Holbrook

SHNID:

gd1982-07-29.138614.beyerm201.holbrook.flac1644

Source:

<b/>flac16 44.1khz</b> Source Audience Recording: Beyer M 201c Location: 110 feet from stage|DFC (1st row behind soundboard)

Lineage:

Taper Notes:

View NotesNotes:
// tape flip
* Missing start
+ feedback from PA 46:40ish
# Missed some drums, we would start when Jerry, Bob,
and Phil came on stage.
/ 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!

Due to steady rain all show there are some PA problems set 1.
The PA issues are on other AUD recordings; they sound like clipping issues all through the show (speaker distortion during high SPL's).
Set1: PA Levels vary & sound muddy during Minglewood. Clears up at FOTD.
Set2: PA sound didn't settle in until Samson


Red Rocks Amphitheatre Morrison CO Night 3 SUN July 29 1982
mic location- 110 feet from stage dead center (first row behind soundboard)
 We had found Olvy a SUN ticket the day before and were finally able to absorb the park, take it in a bit, go to the visitors bureau hut and such before heading in a bit late for us. We wound up directly behind the soundboard in the midst of several other tapers. This was the first time we met and spoke with other tapers. Which resulted in the first time we felt embarrassed or out of place with our straw cowboy hat "mic stand".  One guy mentioned we should buy a stand and we started thinking about it after that.

This show was the ultimate wrapping up of a three day run in a magical location like Red Rocks. Phil's bass was booming- but perfectly clear, Jerry's leads were soaring and Bobby was in great form. But it RAINED - both sets! Even the Dead's vaunted sound crew had problems with the PA, crackling can be heard on all recordings made of this show. All in all, the sound quality of this tape, and others on the LMA, are pretty good, considering it rained the entire show. The second Other One in 3 days had the tour heads buzzing and the entire atmosphere was electric. I'm pretty sure this is when I got the bug to go on tour and tape as many of these things as I could. The complete story of our summer tour can be read in the text file.

SOURCE 12 OF 17

gd1982-07-29.135525.aud.lamarre.berger.flac24

Source:

source: aud cassette master; taped by Doug Lamarre; nak 300’s > sony d5m, fob; maxell udxl-II90, mx90, dolby b; nakamichi dragon/b > benchmark ADC1 24/96 > tascam HD-P2, compact flash > mac > adobe audition > fission> xACT flac; transferred and seeded by Rob Berger

SOURCE 13 OF 17

gd1982-07-29.135524.aud.lamarre.berger.flac16

SOURCE 14 OF 17

gd1982-07-29.naks.mason.129722.flac16

Source:

Recorded By Mason Taylor on a Nakamichi 550 Cassette Deck, on chrome tapes, with Nakamichi microphones; Transferred on Mason's restored Nak550

Taper Notes:

View Notes"Mason B. Taylor was a taper from Chicago that recorded concerts by many bands in the Chicagoland area and on Dead tours. He used a Nakamichi 550 with Nakamichi 300 mics with shotgun capsules for most of his earlier recordings. In later years he used Sony D-5 and Sony D-3 cassette recorders with Nakamichi 300 mics.

Mason captured spectacular musical moments and loved to share them with his closest friends. In honor of Mason and all the love he put into his recordings we are now able to share these moments with those who can appreciate them most.

As the shows get uploaded we would love for you to share your stories about the epic times the music evokes so we can all dial back into that moment when the magic was happening.

Thanks to Mason’s family and his Chicago and Cleveland friends for opening up Mason’s Jar…"

SOURCE 15 OF 17

gd1982-07-29.nak300.morris.102039.sbeok.flac16

Source:

Nakamichi CM-300 shotgun (CP-4) x2 > Cassette Master (Marantz Superscope CD320/Maxell UDXLII C-90)

Lineage:

Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 16-bit/44.1kHz) > cdwav (edits)

SOURCE 16 OF 17

gd82-07-29.fob-senn421.wise.4981.sbeok.shnf

Source:

Audience Recording: Sennheiser 421's

Lineage:

FOB - Senn 421's> Sony TC-D5 (at mouth of the stage)> Nak Dragon Playback> HHB CDR-850 (no DAT gen)> CDR

Taper Notes:

View NotesFOB - Senn 421's> Sony TC-D5 (at "mouth" of the stage)> Nak Dragon Playback> HHB CDR-850 (no DAT gen)> CDR  (Jim Wise transfer/master); Extraction, Editing, Shorten Compression & Upload by Mike "dankstar" Parrillo; ; note <a href="http://db.etree.org/shninfo_detail.php?shnid=4722" rel="nofollow">another</a> version circulates with some different md5s

SOURCE 17 OF 17

gd1982-07-29.senn421.wise-lai.4722.shnf

Source:

FOB - Senn 421's>Sony TC-D5 (at "mouth" of the stage)>Nak Dragon Playback>HHB CDR-850 (no DAT gen)>CDR