1985-04-27 | Grateful Dead

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the 1st generation cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Chris Hecht for the Neumann KM84i source which supplies a 0:21 patch in the "Eyes Of the World > Goin' Down The Road Feeling Bad" transition, as well as a 0:32 patch in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
April 2020

SOURCE 2 OF 26

2:32:57

SBD

Taper:

Joani Walker and Paul Scotton

Transferrer:

Scott Clugston and Charlie Miller

SHNID:

gd1985-04-27.152283.sbd.walker.scotton.miller.clugston.flac1648

Source:

Dan Healy's Master Soundboard Cassettes > Joani Walker's 1st generation cassettes

Lineage:

1st Generation Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2020 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the 1st generation cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Chris Hecht for the Neumann KM84i source which supplies a 0:21 patch in the "Eyes Of the World > Goin' Down The Road Feeling Bad" transition, as well as a 0:32 patch in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
April 2020

SOURCE 3 OF 26

gd1985-04-27.sbd.miller.25467.sbeok.shnf

Source:

SBD -> Master Cassette -> Dat (44.1k)

Lineage:

Dat (Sony R500) -> SEK'D Prodif Plus -> Samplitude v7.02 Professional -> Cool Edit Pro v2.0 -> SHN

Taper Notes:

View Notes-- This is a lot cleaner than what currently circulates (No diginoise/static).
-- Seamless transition between Discs 2 and 3.
-- 2nd Set is more dynamic than 1st set, plus there is no tape flip.
-- 2nd Set may be from PCM or VHS/Beta Hi-Fi.
-- Sounds keeps improving as show goes progresses.

SOURCE 4 OF 26

gd1985-04-27.mtx.haugh.78681.flac24

Source:

DVD-AUDIO 24/48 SBD+AUD Matrix Mix

Lineage:

See info file

Taper Notes:

View Notes---------------------------------------------------------

Source Info

SBD
SBD: Master Cassette > Dat (44.1k) (Sony R500) > SEK'D Prodif
Plus > Samplitude v7.02 Professional -> CEPro v2.0 > SHN
Transferred and Edited By Charlie Miller
[email protected]

AUD1
MAC: (FOB) Nak700 > Sony D5 > TDK MA90. Recorded by B.Koucky.
MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96
WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using
Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.  
Transfer and mastering by C.Ladner.

AUD2
MAC: (FOB) Senn 421 > Sony D5 > TDK MA90 (Set I) & TDK MAR
[aluminum core (Set II)]  Mic Config: mics on T bar knee high
pointed at the stacks MAC > Nakamichi Cassette Deck 2 (azimuth
adjusted) > Audiophile 2496 > WinXP Pro > CEP 2.0 > CD Wave
Editor > Flac Frontend (encoded@level 6) >FLAC16
Location: on the lawn, 25 feet from the stage, DFC
Taper: Adam, Justin & Monica - Mark McCue Masters
All cuts, fades and edits made in CEP 2.0, normalized to 100%.
Sector boundaries verified with TLH. Transfer, minor editing
and conversion by Alex Ford 3/10 & 11/2006.

Thanks to all the hard work from the folks mentioned above in
their loving care getting these sources out.  Thanks also to
the Lossless Legs Community (www.shnflac.net) for getting me
these 3 spectacular sources.  Also a thanks for some of the
images used in creation of the artwork.  I found them years
ago on the net and do not have anyway to properly credit.

---------------------------------------------------------

Tech Notes

FLAC/SHNs were decoded to wave. Wavmerge was used to reassemble
the tracks back to 1 long wave.  CEP2.0 was used to align &
synch all of the sources.  SF8.0 was used for the EQ setting
post mixdown. This is a 65% SBD, 20% AUD1, 15% AUD2 mix.      
- Mixed by [email protected]
- FLAC conversion done 28-SEPT-2006  
- Artwork at 300dpi by [email protected]
- For best results print at the highest resolution onto glossy
photo paper.  Design for use in a clear double jewel case.

---------------------------------------------------------

Notes

After spending several months and likely more than 150 hrs
on this project I rushed my way through this text file and
the artwork.  I just want to be done with it.  Hopefully it
will be acceptable and without too many typos or errors.

The SBD has a strange sound characteristic that can be heard
through the first few songs and then disappears.  As Charlie
Miller noted in his text file "sounds keeps improving as show
progresses".  Which is indeed true.  The sound keeps cycling
from normal to "overly bright".  Could it be a bad Dolby
encode or decode scenario?   Only when you listening very
critically.  It does not subtract from these really great
recordings and great show IMO.

Both AUD recordings are very good.  The Nak700 sounds like it
was on a stand and doesn't have the close crowd feeling of a
typical FOB.  Some post-processing was obviously done to
maximize the levels, which does cut down a bit on the dynamic
range.  The Senn 421 has a much rowdier feel with closer
crowd, clapping and a good feel for a live show.

All 3 sources had different stoppages between songs in the
first set, most notably was during "Let Phil Sing".  Here
we had missing "crowd" material with no overlap.  I employ
several techniques, fades, crossfades, volume changes and
"borrowing" crowd cheer from different parts of the same
recording to fill in the sound and make the new recording flow
uninterrupted.  Take a listen to the first set, the missing
material now flows smooth and is most likely undetectable.

d1t01 "Bill Graham Intro" The first 20 seconds is entirely
from the NAK700 source, then the Senn 421 source fades in
and then finally the SBD also joins the mix.  No music was
missing.  This is smooth and is most likely undetectable.

D2 and D3 can be assembled seamlessly on longer media.

d2t01 "Scarlet Begonias" The first 10 seconds is just the
SBD and the NAK700 source, then the Senn 421 source fades in
and also joins the mix.  This is smooth and is most likely
undetectable.

d3t04 "The Other One" 36.334 seconds of "fake" patch was
used to cover a missing part of the SBD source.  Most likely
a repeating musical portion from earlier in the song was used.  
In short, "The Other One" was patch with the very same "The
Other One".  This was a very tricky edit to find and remove.  
It is now patched with a matrix mix of AUD1 and AUD2 for
1:00.119 with 2 second crossfade on each.  B/c this is a
change in source it is detectable by the listener.

d1t09 "Bill Graham Intro" is entirely from the NAK700 source.

This represents the 24 bit files that are the result of all my
editing and the multitrack mixdown preserved in 24 bit. It is
unclear exactly what we have in the way of high resolution.
However it seems what we have here would not be represented
accurately in 16/44. What you are getting is the full result
of the matrix mix process. How much different does this sound?
is this better? A little and yes. This is more accurate and
has more dynamic range.  24/48 resolution versus a 16/44 of
the same material will usually result in very subtle but
important differences.  Most of it relying on the quality of
the DVD-A player and the D to A conversion.  With that in
mind, this 24 bit copy is no different.  Small but important
gains over the same material in 16/44.  This is just one
man's take.  Take it or leave it.

---------------------------------------------------------

Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -3
AUD1 -7
AUD2 -8.5

SET TWO

Stereo Matrix
SBD -3.5
AUD1 -7
AUD2 -8.5

---------------------------------------------------------

Editorial Comments

This show is like a wearing my favorite slippers.  Familiar
and very comfortable.  I first obtained this show in 1985
about 2 weeks after the show.  I was a new 16 yr. old driver
and was giving a "friend of a friend" a ride in my car.  
This guy was a pretty hard core hippie and he produced the
cassette of the second set.  I was floored.  At the time, and
considering my age, I had no idea anyone could get a copy of
a show THAT fast.  And what a show it is.  Needless to say
the next five years or so were spent wearing out that cassette.

This show is most notable for the only "Scarlet > Eyes" but
is loaded with great renditions, sick jamming and inspired
playing.  The first set songs are all played really well.
The final Tom Thumb > Cold Rain > Music is fantastic.  Phil
is just out-of-hand throughout.  'Nuff said.

This Scarlet is my favorite, period.  A bold statement but
one I can stand tall behind.  Great long intro, nice middle
of the song solo, they come around twice (I LOVE THAT!) before
the Wind in The Willows but the ensuing jam towards Fire is
inspired.  Brent chasing Jerry, Brent chasing Bob.  Jerry is
traveling 100 miles an hour and the band is right behind. A
real nice Fire tease and Jerry picks his moment to lead the
gang into Eyes.  WOW!  

Eyes is also full of spit and fire with too many acid laced
licks to count.  Even GDTRFB is fast paced and fun, with Woman
still keeping your interest.  Isn't that a change?  Not the
longest pre-drums, 40+ mins, but understandable as clearly
Garcia needed to soak his hand in ice.

Normally topping an all Garcia tri-fecta to opened set two,
Scarlet > Eyes > GDTRFB, would be hard to beat, beat it they
do, beat it to death.  The next 45+ mins is transcendental,
perfect, seamless, inspired, rocking/soothing and any other
accolade you can toss in for good measure.  This time a  new
tri-fecta, Truckin' > Other One > Black Peter, takes center
stage in the post drums part.  Note by note, second by second
the band just clicks.  It reminds me of the type of playing
they were capable of during 2/27-28, 3/1-2 when the band
was just so in tune with each other and what they are doing.
While clearly much different, take a listen.  These guys
are so tuned in to what each other is doing it is 6 as 1.

---------------------------------------------------------

SOURCE 5 OF 26

gd1985-04-27.mtx.haugh.78504.flac16

Source:

SBD + AUD Matrix 3 Source Mix

Lineage:

See info file

Taper Notes:

View Notes---------------------------------------------------------

Source Info

SBD
SBD: Master Cassette > Dat (44.1k) (Sony R500) > SEK'D Prodif
Plus > Samplitude v7.02 Professional -> CEPro v2.0 > SHN
Transferred and Edited By Charlie Miller
[email protected]

AUD1
MAC: (FOB) Nak700 > Sony D5 > TDK MA90. Recorded by B.Koucky.
MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96
WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using
Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.  
Transfer and mastering by C.Ladner.

AUD2
MAC: (FOB) Senn 421 > Sony D5 > TDK MA90 (Set I) & TDK MAR
[aluminum core (Set II)]  Mic Config: mics on T bar knee high
pointed at the stacks MAC > Nakamichi Cassette Deck 2 (azimuth
adjusted) > Audiophile 2496 > WinXP Pro > CEP 2.0 > CD Wave
Editor > Flac Frontend (encoded@level 6) >FLAC16
Location: on the lawn, 25 feet from the stage, DFC
Taper: Adam, Justin & Monica - Mark McCue Masters
All cuts, fades and edits made in CEP 2.0, normalized to 100%.
Sector boundaries verified with TLH. Transfer, minor editing
and conversion by Alex Ford 3/10 & 11/2006.

Thanks to all the hard work from the folks mentioned above in
their loving care getting these sources out.  Thanks also to
the Lossless Legs Community (www.shnflac.net) for getting me
these 3 spectacular sources.  Also a thanks for some of the
images used in creation of the artwork.  I found them years
ago on the net and do not have anyway to properly credit.

---------------------------------------------------------

Tech Notes

FLAC/SHNs were decoded to wave. Wavmerge was used to reassemble
the tracks back to 1 long wave.  CEP2.0 was used to align &
synch all of the sources.  SF8.0 was used for the EQ setting
post mixdown. This is a 65% SBD, 20% AUD1, 15% AUD2 mix.      
- Mixed by [email protected]
- FLAC conversion done 28-SEPT-2006  
- Artwork at 300dpi by [email protected]
- For best results print at the highest resolution onto glossy
photo paper.  Design for use in a clear double jewel case.

---------------------------------------------------------

Notes

After spending several months and likely more than 150 hrs
on this project I rushed my way through this text file and
the artwork.  I just want to be done with it.  Hopefully it
will be acceptable and without too many typos or errors.

The SBD has a strange sound characteristic that can be heard
through the first few songs and then disappears.  As Charlie
Miller noted in his text file "sounds keeps improving as show
progresses".  Which is indeed true.  The sound keeps cycling
from normal to "overly bright".  Could it be a bad Dolby
encode or decode scenario?   Only when you listening very
critically.  It does not subtract from these really great
recordings and great show IMO.

Both AUD recordings are very good.  The Nak700 sounds like it
was on a stand and doesn't have the close crowd feeling of a
typical FOB.  Some post-processing was obviously done to
maximize the levels, which does cut down a bit on the dynamic
range.  The Senn 421 has a much rowdier feel with closer
crowd, clapping and a good feel for a live show.

All 3 sources had different stoppages between songs in the
first set, most notably was during "Let Phil Sing".  Here
we had missing "crowd" material with no overlap.  I employ
several techniques, fades, crossfades, volume changes and
"borrowing" crowd cheer from different parts of the same
recording to fill in the sound and make the new recording flow
uninterrupted.  Take a listen to the first set, the missing
material now flows smooth and is most likely undetectable.

d1t01 "Bill Graham Intro" The first 20 seconds is entirely
from the NAK700 source, then the Senn 421 source fades in
and then finally the SBD also joins the mix.  No music was
missing.  This is smooth and is most likely undetectable.

D2 and D3 can be assembled seamlessly on longer media.

d2t01 "Scarlet Begonias" The first 10 seconds is just the
SBD and the NAK700 source, then the Senn 421 source fades in
and also joins the mix.  This is smooth and is most likely
undetectable.

d3t04 "The Other One" 36.334 seconds of "fake" patch was
used to cover a missing part of the SBD source.  Most likely
a repeating musical portion from earlier in the song was used.  
In short, "The Other One" was patch with the very same "The
Other One".  This was a very tricky edit to find and remove.  
It is now patched with a matrix mix of AUD1 and AUD2 for
1:00.119 with 2 second crossfade on each.  B/c this is a
change in source it is detectable by the listener.

d1t09 "Bill Graham Intro" is entirely from the NAK700 source.

---------------------------------------------------------

Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -3
AUD1 -7
AUD2 -8.5

SET TWO

Stereo Matrix
SBD -3.5
AUD1 -7
AUD2 -8.5

---------------------------------------------------------

Editorial Comments

This show is like a wearing my favorite slippers.  Familiar
and very comfortable.  I first obtained this show in 1985
about 2 weeks after the show.  I was a new 16 yr. old driver
and was giving a "friend of a friend" a ride in my car.  
This guy was a pretty hard core hippie and he produced the
cassette of the second set.  I was floored.  At the time, and
considering my age, I had no idea anyone could get a copy of
a show THAT fast.  And what a show it is.  Needless to say
the next five years or so were spent wearing out that cassette.

This show is most notable for the only "Scarlet > Eyes" but
is loaded with great renditions, sick jamming and inspired
playing.  The first set songs are all played really well.
The final Tom Thumb > Cold Rain > Music is fantastic.  Phil
is just out-of-hand throughout.  'Nuff said.

This Scarlet is my favorite, period.  A bold statement but
one I can stand tall behind.  Great long intro, nice middle
of the song solo, they come around twice (I LOVE THAT!) before
the Wind in The Willows but the ensuing jam towards Fire is
inspired.  Brent chasing Jerry, Brent chasing Bob.  Jerry is
traveling 100 miles an hour and the band is right behind. A
real nice Fire tease and Jerry picks his moment to lead the
gang into Eyes.  WOW!  

Eyes is also full of spit and fire with too many acid laced
licks to count.  Even GDTRFB is fast paced and fun, with Woman
still keeping your interest.  Isn't that a change?  Not the
longest pre-drums, 40+ mins, but understandable as clearly
Garcia needed to soak his hand in ice.

Normally topping an all Garcia tri-fecta to opened set two,
Scarlet > Eyes > GDTRFB, would be hard to beat, beat it they
do, beat it to death.  The next 45+ mins is transcendental,
perfect, seamless, inspired, rocking/soothing and any other
accolade you can toss in for good measure.  This time a  new
tri-fecta, Truckin' > Other One > Black Peter, takes center
stage in the post drums part.  Note by note, second by second
the band just clicks.  It reminds me of the type of playing
they were capable of during 2/27-28, 3/1-2 when the band
was just so in tune with each other and what they are doing.
While clearly much different, take a listen.  These guys
are so tuned in to what each other is doing it is 6 as 1.

---------------------------------------------------------

SOURCE 6 OF 26

gd85-04-27.fixedsbd.mattman.20683.sbeok.shnf

Source:

Pitch-corrected version of <a href="http://db.etree.org/shninfo_detail.php?shnid=17265">shnid=17265</a>.

Taper Notes:

View NotesPitch-corrected version of <a href="http://db.etree.org/shninfo_detail.php?shnid=17265" rel="nofollow">shnid=17265</a>.

SOURCE 7 OF 26

SBD > MC > DAT > CDR > EAC > mkwACT

Taper Notes:

View NotesSource:
SBD > MC > DAT > CDR > EAC > mkwACT

Doesn't have missed lyric in The Other One. Seems like it may be still missing some music but, if it is, the d/o is much less drastic.

SOURCE 8 OF 26

gd85-04-27.sbd.jerugim.359.sbeok.shnf

Source:

SBDMC> DAT> CDR

Taper Notes:

View NotesSBDMC> DAT> CDR; CDR> EAC> SHN; conversion & upload, A. Jerugim;
no known flaws

SOURCE 9 OF 26

Scott Clugston, Charlie Miller

SHNID:

gd1985-04-27.163485.nak700.wagner.miller.clugston.flac2496

Source:

Bob Wagner's Master Audience Cassettes; Nakamichi 700 mics > Sony D5

Lineage:

Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2022 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Bob Wagner for master cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Chris Hecht for the Neumann KM84i source which supplies a 0:17 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
July 2022

SOURCE 10 OF 26

Scott Clugston, Charlie Miller

SHNID:

gd1985-04-27.163484.nak700.wagner.miller.clugston.flac1648

Source:

Bob Wagner's Master Audience Cassettes; Nakamichi 700 mics > Sony D5

Lineage:

Master Cassettes (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2022 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Bob Wagner for master cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Chris Hecht for the Neumann KM84i source which supplies a 0:17 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
July 2022

SOURCE 11 OF 26

Scott Clugston and Charlie Miller

SHNID:

gd1985-04-27.148416.neumann.km84i.hecht.miller.clugston.flac2496

Source:

Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5M

Lineage:

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Chris Hecht for the master recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bill Koucky and Chris Ladner for the shnid76584 Nakamichi 700 source which supplies the crowd and beginning of "Dancing In The Street", the end of "Cold Rain & Snow" and beginning of "The Music Never Stopped (5:17 total), the crowd and beginning of "Scarlet Begonias" (3:48 total), as well as a 0:42 patch in "Space"
- Pitch corrected

Mastered by Scott Clugston
September 2019

SOURCE 12 OF 26

Scott Clugston and Charlie Miller

SHNID:

gd1985-04-27.148415.neumann.km84i.hecht.miller-clugston.flac1648

Source:

Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5M

Lineage:

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Chris Hecht for the master recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bill Koucky and Chris Ladner for the shnid76584 Nakamichi 700 source which supplies the crowd and beginning of "Dancing In The Street", the end of "Cold Rain & Snow" and beginning of "The Music Never Stopped (5:17 total), the crowd and beginning of "Scarlet Begonias" (3:48 total), as well as a 0:42 patch in "Space"
- Pitch corrected

Mastered by Scott Clugston
September 2019

SOURCE 13 OF 26

Joe Noel and Charlie Miller

SHNID:

gd1985-04-27.145335.s2.fob.sony..ecm150.keeler.miller.noel.t-flac16

Source:

Walt Keeler (FOB) Recording: Sony ECM-150 > Sony WM-D6C > Master Audience Cassette (Maxell XLII-S 90)

Lineage:

Charlie Miller DSD Transfer: Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp > WAV (24-bit/96k)

Taper Notes:

View NotesEdited & Mastered by Joe Noel;
WAV > Audacity > Flac 24/96
October 28, 2018

This file set is 16 bit @ 44.1

Patch info:
- shnid 10203 (Nakamichi CM-100)
- s2t06; last four seconds
- s2t07; first twenty-seven seconds

Notes:
- Thank you Walt, thank you for getting real close.
- Thank you Charlie for transferring & coordinating.
- Thanks to Greg Holtz for the patch source.
- Pitch corrected

SOURCE 14 OF 26

Joe Noel and Charlie Miller

SHNID:

gd1985-04-27.143491.s2.FOB.ECM150.Keeler.Miller.Noel.t-flac2496

Source:

Walt Keeler (FOB) Recording: Sony ECM-150 > Sony WM-D6C > Master Audience Cassette (Maxell XLII-S 90)

Lineage:

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp > WAV (24-bit/96k)

Taper Notes:

View NotesPatch info:
- shnid 10203 (Nakamichi CM-100)
- s2t06; last four seconds
- s2t07; first twenty-seven seconds

Notes:
- Thank you Walt, thank you for getting real close.
- Thank you Charlie for transferring & coordinating.
- Thanks to Greg Holtz for the patch source.
- Pitch corrected

SOURCE 15 OF 26

2:29:45

SHNID:

gd1985-04-27.166645.akgC-33e.fob.Hoey.flac24

SOURCE 16 OF 26

2:50:08

SHNID:

gd1985-04-27.151947.Mouth.AKG.Master.Cassette.Rogers.Noel.t-flac16

SOURCE 17 OF 26

Transfer by Craig Rogers Edited & Mastered (Adobe Audition) by Joe Noel January 20, 2021

SHNID:

gd1985-04-27.151703.Mouth.AKG.Master.Cassette.Rogers.Noel.t-flac2496

Source:

Source: AKG CE1s (ORTF) > Uher CR240 > Master Cassettes

Lineage:

Location: Mouth, ten heads back from stage lip, Phil's side, Set I & Set II through GDTRFB; OTS, MSWS till end of show Transfer: Master Cassettes > Uher CR240 > Sound Devices 722 > WAV 24/96

Taper Notes:

View NotesNotes;
- Thanks to Craig Rogers for taping & sharing
- Thanks to everyone involved with the patch source
- Special thanks to Jerry Garcia for allowing these recordings.
- Special thanks to Dan Healy (minus the hiccup on this night) for allowing the tradition to continue
- This source has been pitch corrected
- The tape pauses were cross faded.
- There was a taper bust during GDTRFB, but the tapers keep rolling!
- Notwithstanding the bust, this is a huge recording from the mouth.
- If you're gonna get busted, this is how you want it to go down.  They didn't loose their masters & they only missed 3 minutes of music (drums).
- Give these boys the 13 Point Lightning Bolt!
- This is an Uher Archive production.
- [email protected]

SOURCE 18 OF 26

2:50:07

SHNID:

gd1985-04-27.151970.Mouth.AKG.Rogers.Noel.fixed.151703.t-flac2496

SOURCE 19 OF 26

2:33:35

Transferrer:

5.1 LPCM Surround Sound Mix (48/24) by amdig & Kevin Tobin

SHNID:

gd1985-04-27.148527.5-1.amdig.flac2448

Source:

5.1 LPCM Surround Sound Mix (48/24)

Taper Notes:

View Notes---------------------------------------------------------
- DVD-A extraction 11-DEC-2019 - DVD Audio Extractor v8.0.0
- FLAC conversion 11-DEC-2019 - Trader Little Helper
- Tagged 11-DEC-2019 - Tag&Rename
---------------------------------------------------------

SOURCE 20 OF 26

2:36:46

SHNID:

gd1985-04-27.148348.aud.flac2496

Source:

Analog Audience maxell mx 90's 3 tapes Namakamichi CM 700 Mics and Custom ps/preamp mixer - > modified dbx 224 (mod'd to run from battery pack) - > Sony TC D5M (dbx encoded)

Lineage:

Nakamichi CR7a - > dbx nx40 (dbx decoded) - > Audio Technica mixer/line amplifier - > Korg MR 2000 at 1 bit 5.6 MHz - > Audiogate software to create 24-96 files

SOURCE 21 OF 26

gd1985-04-27.124981.chasingwilma.flac24

Source:

lineage: sennheiser 421 (fob)> d-5> d-5> sony tc we435> sony pcm m-10 24bit/96khz> soundforge> cdwave> traders little helper encoding option 8; conversion rate: 96000/24 bit

SOURCE 22 OF 26

gd1985-04-27.nak100.holtz.jaz.102035.flac16

Source:

Nakamichi CM-100's with CP-4 shotgun caps > Sony TC-D5

Lineage:

Cassette Master, TDK MA-R90 Alluminum Core-> Tascam 112 -> RCA/XLR -> Edirol m10dx 24bit 96kHz -> SPDIF -> M-Audio MicrotrackII compact flash -> USB -> Wave Lab 5.0 w/UAD -> R8brain for Sample Rate Conversion to 16bit 44.1kHz -> Traders Little Helper flac8

SOURCE 23 OF 26

Brion Green and ChrisJ

SHNID:

gd1985-04-27.nak700.anon.lmpp.99835.flac16

Source:

Nakamichi 700's > d6 > MAC

Lineage:

MAC > Nakamichi DR-1 > HD-P2 > 24/96 WAve > Wavelab 5 > UAD Plugs > r8brain Pro > Izotope Ozone 3 Mbit > 16/44.1 Wave > Flac

Taper Notes:

View NotesNotes:

- This source sounds absolutely great. HUGE thanks to Anon for this one. One of my favorite auds I've had the 
pleasure to work on to date!!! Thank you sir!!!!

- Encore patched from SHNID 76584

SOURCE 24 OF 26

gd1985-04-27.dts.haugh.78437.flac16

View Notes---------------------------------------------------------

Source Info

SBD
SBD: Master Cassette > Dat (44.1k) (Sony R500) > SEK'D Prodif
Plus > Samplitude v7.02 Professional -> CEPro v2.0 > SHN
Transferred and Edited By Charlie Miller
[email protected]

AUD1
MAC: (FOB) Nak700 > Sony D5 > TDK MA90. Recorded by B.Koucky.
MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96
WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using
Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.  
Transfer and mastering by C.Ladner.

AUD2
MAC: (FOB) Senn 421 > Sony D5 > TDK MA90 (Set I) & TDK MAR
[aluminum core (Set II)]  Mic Config: mics on T bar knee high
pointed at the stacks MAC > Nakamichi Cassette Deck 2 (azimuth
adjusted) > Audiophile 2496 > WinXP Pro > CEP 2.0 > CD Wave
Editor > Flac Frontend (encoded@level 6) >FLAC16
Location: on the lawn, 25 feet from the stage, DFC
Taper: Adam, Justin & Monica - Mark McCue Masters
All cuts, fades and edits made in CEP 2.0, normalized to 100%.
Sector boundaries verified with TLH. Transfer, minor editing
and conversion by Alex Ford 3/10 & 11/2006.

Thanks to all the hard work from the folks mentioned above in
their loving care getting these sources out.  Thanks also to
the Lossless Legs Community (www.shnflac.net) for getting me
these 3 spectacular sources.  Also a thanks for some of the
images used in creation of the artwork.  I found them years
ago on the net and do not have anyway to properly credit.

---------------------------------------------------------

Tech Notes

FLAC/SHNs were decoded to wave. Wavmerge was used to reassemble
the tracks back to 1 long wave.  CEP2.0 was used to align &
synch all of the sources.  SF8.0 used to adjust the volume for
the front, center, surround and LFE channels.  SF8.0 was used
for the EQ setting on all the sources post mixdown. Surcode CD
Pro DTS was used to encode to DTS.      
- Mixed by [email protected]
- FLAC conversion done 28-SEPT-2006  
- Artwork at 300dpi by [email protected]
- For best results print at the highest resolution onto glossy
photo paper.  Design for use in a clear double jewel case.

---------------------------------------------------------

DTS-Audio-CD Info

Front
Left Channel SBD+AUD DEQ'd Matrix 75%-SBD/25%-AUD2
Right Channel SBD+AUD DEQ'd Matrix 75%-SBD/25%-AUD2

Center
Mono Mix -5db SBD DEQ'd

Surround
Left Channel AUD+AUD DEQ'd Matrix 60%-AUD1/40%-AUD2
Right Channel AUD+AUD DEQ'd Matrix 60%-AUD1/40%-AUD2

Sub/LFE
Mono Mix -5db SBD DEQ'd Matrix 50%-SBD/50%-AUD2

---------------------------------------------------------

Notes

After spending several months and likely more than 150 hrs
on this project I rushed my way through this text file and
the artwork.  I just want to be done with it.  Hopefully it
will be acceptable and without too many typos or errors.

The SBD has a strange sound characteristic that can be heard
through the first few songs and then disappears.  As Charlie
Miller noted in his text file "sounds keeps improving as show
progresses".  Which is indeed true.  The sound keeps cycling
from normal to "overly bright".  Could it be a bad Dolby
encode or decode scenario?   Only when you listening very
critically.  It does not subtract from these really great
recordings and great show IMO.

Both AUD recordings are very good.  The Nak700 sounds like it
was on a stand and doesn't have the close crowd feeling of a
typical FOB.  Some post-processing was obviously done to
maximize the levels, which does cut down a bit on the dynamic
range.  The Senn 421 has a much rowdier feel with closer
crowd, clapping and a good feel for a live show.

All 3 sources had different stoppages between songs in the
first set, most notably was during "Let Phil Sing".  Here
we had missing "crowd" material with no overlap.  I employ
several techniques, fades, crossfades, volume changes and
"borrowing" crowd cheer from different parts of the same
recording to fill in the sound and make the new recording flow
uninterrupted.  Take a listen to the first set, the missing
material now flows smooth and is most likely undetectable.

d1t01 "Bill Graham Intro" The first 20 seconds is entirely
from the NAK700 source, then the Senn 421 source fades in
and then finally the SBD also joins the mix.  No music was
missing.  This is smooth and is most likely undetectable.

d2t01 "Scarlet Begonias" The first 10 seconds is just the
SBD and the NAK700 source, then the Senn 421 source fades in
and also joins the mix.  This is smooth and is most likely
undetectable.

d3t04 "The Other One" 36.334 seconds of "fake" patch was
used to cover a missing part of the SBD source.  Most likely
a repeating musical portion from earlier in the song was used.  
In short, "The Other One" was patch with the very same "The
Other One".  This was a very tricky edit to find and remove.  
It is now patched with a matrix mix of AUD1 and AUD2 for
1:00.119 with 2 second crossfade on each.  B/c this is a
change in source it is detectable by the listener.

d1t09 "Bill Graham Intro" is entirely from the NAK700 source.

The mixdown of the AUD+AUD matrix mix was done a few db's
lower than the from SBD+AUD matrix mix.  In my experience
louder rear channels is an undiserable effect.  

---------------------------------------------------------

Multitrack Mixdown Settings

SET ONE SET TWO

Front Matrix Front Matrix
SBD -.5 SBD -1
AUD2 -7 AUD2 -7.5

Stereo Matrix Stereo Matrix
SBD -1 SBD -1
AUD2 -5.5 AUD2 -6

Rear Matrix Rear Matrix
AUD1 -4 AUD1 -4
AUD2 -9 AUD2 -9

Sub/LFE Matrix Sub/LFE Matrix
SBD -7db SBD -7.5db
AUD2 -5.5db AUD2 -6db

---------------------------------------------------------

Editorial Comments

This show is like a wearing my favorite slippers.  Familiar
and very comfortable.  I first obtained this show in 1985
about 2 weeks after the show.  I was a new 16 yr. old driver
and was giving a "friend of a friend" a ride in my car.  
This guy was a pretty hard core hippie and he produced the
cassette of the second set.  I was floored.  At the time, and
considering my age, I had no idea anyone could get a copy of
a show THAT fast.  And what a show it is.  Needless to say
the next five years or so were spent wearing out that cassette.

This show is most notable for the only "Scarlet > Eyes" but
is loaded with great renditions, sick jamming and inspired
playing.  The first set songs are all played really well.
The final Tom Thumb > Cold Rain > Music is fantastic.  Phil
is just out-of-hand throughout.  'Nuff said.

This Scarlet is my favorite, period.  A bold statement but
one I can stand tall behind.  Great long intro, nice middle
of the song solo, they come around twice (I LOVE THAT!) before
the Wind in The Willows but the ensuing jam towards Fire is
inspired.  Brent chasing Jerry, Brent chasing Bob.  Jerry is
traveling 100 miles an hour and the band is right behind. A
real nice Fire tease and Jerry picks his moment to lead the
gang into Eyes.  WOW!  

Eyes is also full of spit and fire with too many acid laced
licks to count.  Even GDTRFB is fast paced and fun, with Woman
still keeping your interest.  Isn't that a change?  Not the
longest pre-drums, 40+ mins, but understandable as clearly
Garcia needed to soak his hand in ice.

Normally topping an all Garcia tri-fecta to opened set two,
Scarlet > Eyes > GDTRFB, would be hard to beat, beat it they
do, beat it to death.  The next 45+ mins is transcendental,
perfect, seamless, inspired, rocking/soothing and any other
accolade you can toss in for good measure.  This time a  new
tri-fecta, Truckin' > Other One > Black Peter, takes center
stage in the post drums part.  Note by note, second by second
the band just clicks.  It reminds me of the type of playing
they were capable of during 2/27-28, 3/1-2 when the band
was just so in tune with each other and what they are doing.
While clearly much different, take a listen.  These guys
are so tuned in to what each other is doing it is 6 as 1.

---------------------------------------------------------

More On DTS

Today's audio standards are moving towards multi-channel sound
like DTS, Dolby Digital and DVD-Audio.  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 rise the volume gradually. NEVER
listen to a DTS-Audio-CD through the analogue 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.

---------------------------------------------------------

SOURCE 25 OF 26

gd1985-04-27.nak700.koucky.gmb.76584.sbeok.flac16

Source:

MAC: (FOB) Nak700s > Sony D5 > TDK MA 90s.

Lineage:

MAC playback on Nak DR2 > Presonus Firebox > recorded as 24/96 WAV (Wavelab) > mastered/rendered to 16/44.1 KHz WAV using Waves L3 Multimaximizer > tracked/FLACd using CDWAV 1.9.

Taper Notes:

View NotesComments:
Crisp upclose sounding aud with some minor phasing issues. Thanks to Bill for taping, preserving, and sharing his recording with me for transfer.
Seeded by the green mountain bros at candyman FTP and planetFLAC - August 2006.

SOURCE 26 OF 26

Adam, Justin & Monica

Transferrer:

Alex Ford

SHNID:

gd1985-04-27.senn421.mccue.ford.32648.sbeok.flac

Source:

MAC: (FOB) Sennheiser 421's > Sony D5 > TDK MA 90 (Set I) & TDK MAR [aluminum core (Set II)]

Lineage:

MAC>NMAC>Nakamichi Cassette Deck 2(azimuth adjusted)>Audiophile 2496>WinXP Pro>CEP 2.0>CD Wave Editor>Flac Frontend(encoded@level 6)>FLAC16.

Taper Notes:

View NotesNotes:

 - Good news for Phil fans, this recording will shake your house, your car, your mind...
 - *strange noise during Little Red Rooster (on Master Cassette)
 - #Scarlet Begonias fades in due to stealth mic set up