Morning Dew | 1988-10-01 | Grateful Dead

View NotesNotes:
-- This is a Healy Mix SBD with no ambient mics
-- Thanks to Darren Sacks for the patch source (which I remastered)
-- This file set is 16 bit at 44.1

SOURCE 2 OF 6

2:24:35

SBD

Transferrer:

Charlie Miller

SHNID:

gd1988-10-01.142331.sbd.miller.flac2496

Source:

SBD > Beta HiFi Master (Sony Betamax/TDK HS)

Lineage:

Beta HiFi Master (Sony SL-HF66) > Tascam DA-3000 (DSF 1-bit/5.6MHz) >dBpoweramp > Samplitude Pro X3 Suite > FLAC/24

Taper Notes:

View NotesNotes:
-- This is a Healy Mix SBD with no ambient mics
-- Thanks to Darren Sacks for the patch source (which I remastered)

SOURCE 3 OF 6

gd88-10-01.sbd.sacks.7728.sbeok.shnf

Source:

SBD> Cass> DAT> CDR> EAC> SHN (seekable)

Taper Notes:

View NotesSBD> Cass> DAT> CDR> EAC> SHN (seekable); via Darrin Sacks to abgd, etree

SOURCE 4 OF 6

gd1988-10-01.168674.superscopeEC7.ont.flac1644

Source:

OTS; SEC 202, Row E, Seat #23, Front Row Of Tapers Section; Superscope EC 7 Cardioid Condensers >Marantz PMD-430 [XLIIS]

Lineage:

Cassette Masters Transferred Via Denon DR-M12HR >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips] & Fades) >FLAC (Level 8) + Tags Via xACT 2.53

Taper Notes:

View NotesOldNeumanntapr Notes;
This was my second time recording the Dead at Shoreline. The previous year, in 1987, I came home with really good sounding tapes that had a lot of punch and impact, being that they were recorded with the addition of the repeater towers on the lawn. In 1988 they moved the tapers section to Section 202, in the reserved section, directly behind the soundboard. (Maybe the venue was upset with microphone stands tearing up the lawn?) We were a little closer to the stage PA, but we lost the addition of the repeater towers. When I ordered tickets through the Dead office I put a note in my mailer and requested to be next to 'Taper Ron' Owensby, my friend in Oakland who I stayed with when I went to Bay Area shows. I was blown away to see Ron walk up and have a reserved seat RIGHT next to me, in Section 202 Row E, the first row behind the board and front row of the tapers section! THANK'S GDTS!!!! :)

I was having trouble with my Sony TC-153SD which turned out to be a dirty record switch, most likely from the wind-driven dust at the Ventura Fairgrounds shows the previous summer. I eventually had it serviced but for these shows I used a borrowed Marantz PMD-430, from my friend Dick who was another taper I knew. For some reason lost to time, my recording of the October 1st show starts with Sugaree already in progress. Perhaps I was late to the show and wasn't able to get set up in time, or maybe I had some sort of an equipment failure. I don't remember.

I would eventually get the Sony TC-153SD deck working again, but in the meantime I got a new Sony WM-D6C PRO for Christmas '88, because I wanted a new deck and I wanted something that I could record other bands with and the 153 was just too large to take in for stealth shows.

SOURCE 5 OF 6

gd1988-10-01.ec7.s2.bowen.116400.flac

Source:

Set 2 Only Source: (OTS) Superscope EC-7's > Marantz PMD-430;

Lineage:

Cass/M > Sony D5 > HHb 800 > EAC > FLAC; Recorded/Transferred: Jeff Bowen; Extraction: Brad Foster

Taper Notes:

View Notes-- Thanks to Jeff for sharing his master/transfer!
Log file included.
Enjoy!

SOURCE 6 OF 6

gd1988-10-01.beyerM88.russjcan.94478.flac16

Source:

Beyerdynamic M-88's XY60 with Sony WMD6-C Maxell MX 90 No nr Offical taping section front of lawn 140 feet away,dead center Mic stand at 7 feet

Lineage:

Master>D6>HD>Audacity>CDWave>TLH

Taper Notes:

View Notes- significant boost in house sound on d1t02 right before vocals
- d1t07 first few seconds cut