1986-05-10 | Grateful Dead

View NotesPatch Info:
AUD Source from etree supplies:
Drums (2:05 - 3:02)

Notes:
-- Set 2 is seamless
-- Thanks to Paul Scotton and Joani Walker for the Cassettes

SOURCE 2 OF 13

2:43:42

SBD

Rating:

8.67 / 21 ratings

SHNID:

gd86-05-10.sbd.hinko.19962.sbeok.shnf

Source:

SBD > MC > C > DAT > CD > EAC > SHN

Taper Notes:

View NotesSBD > MC > C > DAT > CD > EAC > SHN; EAC/SHN by Darryl Hinko

SOURCE 3 OF 13

Scott Clugston, Charlie Miller

SHNID:

gd1986-05-10.166966.nak700.severson.miller.clugston.flac2496

Source:

Mark Severson'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 2024 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Mark Severson for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:08 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
January 2024

Set One:

SOURCE 4 OF 13

Scott Clugston, Charlie Miller

SHNID:

gd1986-05-10.166965.nak700.severson.miller.clugston.flac1648

Source:

Mark Severson'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 2024 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Mark Severson for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Bob Wagner for the Nakamichi 700 source which supplies an 0:08 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
January 2024

SOURCE 5 OF 13

Scott Clugston and Charlie Miller

SHNID:

gd1986-05-10.148865.neumann.km84i.hecht.miller.clugston.flac2496

Source:

Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5MChris 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 cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:09 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
October 2019

SOURCE 6 OF 13

Scott Clugston and Charlie Miller

SHNID:

gd1986-05-10.148864.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 cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:09 patch in "Drums"
- Pitch corrected

Mastered by Scott Clugston
October 2019

SOURCE 7 OF 13

Charlie Miller, Jim Wise, Scott Clugston

SHNID:

gd1986-05-10.140256.fob.schoeps.cmc4.mk41.oade.wise.miller.clugston.flac1644

Taper Notes:

View NotesNotes:
- Thanks to the Oade brothers and crew for their master recording(s), as well as a proper transfer to hard disk, and my apologies for not properly acknowledging their efforts sooner.
- Thanks to Jim Wise for the hard disk drive
- Thanks to Charlie Miller for coordinating this effort

Mastered by Scott Clugston
December 15, 2017

SOURCE 8 OF 13

2:41:53

Taper:

Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig

Transferrer:

Kyle Holbrook

SHNID:

gd1986-05-10.156609.nakomni.holbrook.flac24

Source:

1GEN AUDCA Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay > Recorder: Sony TC-D5M no NR Maxell MX90 Location: OTS- ~150 feet from stage spread 20 feet apart

Lineage:

Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90 Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661

Taper Notes:

View NotesAs I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields.

The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps.  This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear.

For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC

SOURCE 9 OF 13

2:41:53

Taper:

Executive Crew, Mike Davis, Kenny Davis, Aaron; patched out of Poris/Olness custom rig

Transferrer:

Kyle Holbrook

SHNID:

gd1986-05-10.156608.nakomni.holbrook.flac16

Source:

Lineage:

Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90 Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661

Taper Notes:

View NotesAs I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields.

The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps.  This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear.

For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC

SOURCE 10 OF 13

gd1986-05-10.135047.chasingwilma.flac24

Source:

lineage: schoeps cmc 44 fob> tcd-d5> tcd-d5>mc sony tc we435> sony pcm m-10 24bit/96khz> soundforge> cdwave> traders little helper encoding option 8

SOURCE 11 OF 13

gd1986-05-10.Senn421sNak300s.Darby.120491.Flac1644

Source:

Master Audience Recorded By Mr. Darby; SennheiserMD421s+Nakamichi CM300/CP4s (PAS/DFC/2nd Row Of OTS/6 Feet High)> Sony MX 10>Sony TC-D5M, Tapes Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed/Dithered/Flacked With Korg Aqua To 16/44 By Keo; SBE's Checked Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename

SOURCE 12 OF 13

gd1986-05-10.Senn421sNak300s.Darby.120490.Flac2448

Source:

Master Audience Recorded By Mr. Darby; SennheiserMD421s+Nakamichi CM300/CP4s (PAS/DFC/2nd Row Of OTS/6 Feet High)> Sony MX 10>Sony TC-D5M, Tapes Maxell MX; Transfer Information:Tascam 112 MKII (XLR Out)>Tascam HD-P2 @ 24/48> HDD>Amadeus Pro (Tracking/Fades/FLAC8); Tracks Renamed, Metadata Tagging With Tag&Rename By Keo (The first seed of this source had errors on tracks six and 13; please do not circulate that version.)

SOURCE 13 OF 13

gd86-05-10.aud.eD.13817.sbeok.shnf

Source:

AUD>MC*>DAT>CDR

Taper Notes:

View NotesAUD>MC*>DAT>CDR; via Abraham & Isaac; seedeD