1990-12-27 | Grateful Dead

View NotesNotes:
-- This source has a correct bit rate
-- Drums with Hamza El Din
-- Tape was labeled "Air Check AD-DA"
-- This was a test run for the NYE broadcast
-- The deck was patched off a Sony PCM recording rig
-- Tape flips covered by an ultramatrix cassette master

SOURCE 2 OF 13

2:48:12

SBD

Transferrer:

Charlie Miller

SHNID:

gd1990-12-27.138519.ultra.matrix.sbd.miller.flac16

Source:

Ultra Matrix SBD > Cassette Master (Tascam Deck/TDK SA-X100)

Lineage:

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

Taper Notes:

View NotesNotes:
-- Drums with Hamza El Din
-- Two sets of master were used to make this show complete
-- This is 138473 24 bit - 16 bit

SOURCE 3 OF 13

gd1990-12-27.138473.sbd.miller.flac24

Source:

Ultra Matrix SBD > Cassette Master (Tascam Deck/TDK SA-X100)

Lineage:

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

Taper Notes:

View NotesNotes:
-- Drums with Hamza El Din
-- Two sets of master were used to make this show complete

SOURCE 4 OF 13

Charlie Miller and Neil Sturtevant

SHNID:

gd90-12-27.set1-akg-set2-sbd.miller.21928.sbeok.shnf

Source:

Soundboard and Audience Composite

Lineage:

Set One: AKG 460/CK8X (Front Row Taper's Section) -> Dat (Sony D3) -> PCM ->Dat (Sony R500) -> Samplitude v7.02 Professional -> SHNSet Two: SBD -> Dat -> SHN

Taper Notes:

View NotesSet One: AKG 460/CK8X (Front Row Taper's Section) -> Dat (Sony D3) -> PCM ->
Dat (Sony R500) -> Samplitude v7.02 Professional -> SHN
Set Two: SBD -> Dat -> SHN
Recorded By Paul Tumolo
Transfered By Charlie Miller and Neil Sturtevant

SOURCE 5 OF 13

2:49:57

SBD

SHNID:

gd1990-12-27.164129.UltraMatrix.sbd.air-check.cm.miller.f.flac1644

SOURCE 6 OF 13

gd1990-12-27.aud-sbd.tumolo.miller.tetzeli.fix-21928.76115.sbeok.flac16

Source:

Fix of shnid 21928

Taper Notes:

View NotesJust some minor surgery here - I used the AUD from archive.org (shnid 28385) to patch in a brief gap in space in order to make the transition between CDs 2 and 3 seamless.  There was also a gap from :22 to :42 in the right channel of space which I monized by pasting in the left channel.  SHNs were converted to FLACs, shntool used to clean up SBEs.

Bill Tetzeli ([email protected])
7:57 PM 7/18/2006

SOURCE 7 OF 13

gd1990-12-27.set2-fixed.sbd.8193.sbefail.shnf

Source:

SBD(matrix)>DAT>CDR

Taper Notes:

View NotesEAC (secure mode with proper offsets)
and shn conversion by Tony G ([email protected])
03/11/02

COMMENTS:
during the "Ultra-Matrix" mix, the microphones that are
usually used to capture "audience ambience/reactions"
were left on for the entire show, 
so this is actually a "SBD + AUD" recording; there is a
pause between Hamza el_Din and "Space" due to
equipment being plugged in and Hamza'a percussion set
removed from the stage; 
any/all editing, fades, NR, hiss elimination, phase
shifting/"time smear" correction, jitter elimination, EQ,
and quantization noise elimination (when down-converting
audio to 16-bit / 44.1kHz for CD-R mastering), 
were all performed using 16-bit / 96 kHz digital realm processing 
at Serafin Station

 Fire 
The remaining wave file was then transferred to become the updated d1tr03. 
While examining the latter track, I noticed a  millisecond gap at 5:18.410 
and corrected the gap. There was no music missing, so the edit corrected the lapse. 
The updated tracks were then converted back to shn using mkw.

SOURCE 8 OF 13

JC Mahoney, Dan O'Neill;

Transferrer:

Charlie Miller

SHNID:

gd90-12-27.fob-akg-mahoney-oneill.miller.28385.sbeok.shnf

Source:

Audience: AKG 461's

Lineage:

FOB AKG 460/CK61 (ORTF) > Mike Grace Early Preamp > Dat Master (Casio DA-7/48k) > Dat (Sony R500) > Behringer UltraMatch SRC2000 > SEK'D Prodif Plus > Samplitude v7.02 Professional > SHN

Taper Notes:

View Notesset2; FOB AKG 460/CK61 (ORTF)> Mike Grace Early Preamp> Dat Master (Casio DA-7/48k); Transfer: Dat (Sony R500)> Behringer UltraMatch SRC2000> SEK'D Prodif Plus> Samplitude v7.02 Professional> SHN ; Recorded By JC Mahoney, Dan O'Neill; Transferred By Charlie Miller

SOURCE 9 OF 13

Marcus Buick & Rob Darroch

Transferrer:

John Ammons and photoleon

SHNID:

gd1990-12-27.138040.BK4011.Schoeps.FOB.Darroch.Katzeff.Buick.Ammons.fix.t-flac16

Source:

<b>flac16/48kHz</b>; source(s): Set I: B&K 4011 > Prolink Cables > Mod Neumann PS > Panasonic SV255; FOB DFC with 6 ft stand; Tapped by Rob Darroch; Set II: Schoeps CMC34 > MIT Cables > Oade PS > Panasonic SV250; FOB DFC hand held by Marcus Buick; Taped by Rick Katzeff and Marcus Buick;

Lineage:

Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optcal) > Mac Mini > Audacity 3.0 at 48K > Wave; By John Ammons from his DAT clone of the masters; Wave > xACT > flac > Audacity > labeled > patched > export multiple > flac 16/44 (level 8); Checksum & tags created in xACT; Note: the original seed of this source had Set 1 at 16 bit 44.1 kHz, Set 2 at 16 bit 48kHz; the fixed version is all 48kHz

Taper Notes:

View NotesThere were a bunch of rigs FOB during set 1, and it was quite casual. Mics on stands were not a problem. During set break, this punk kid with Schoeps (nice to be about 20 and going to shows with your $8,000 taping rig!) didn't completely break down his stand and put the gear away. He left the tripod open so the stand was a couple feet high and draped a coat over the mics. Well, this caught someone's attention, and the bust swept through big time, first getting him and then searching all bags in the vicinity. Everyone was at least busted to some degree, although bits and pieces of rigs made it out before the search. Ultimately Marcus, Rick, and I were able to meet in seats just off the floor shortly before set 2 was ready to start. There we assembled the "back up rig" - listed in the lineage for set 2. The lights went down while we were still to the edge of the floor, but we worked our way back to the original blanket as they were still tuning up. You can hear rumbling noises as Marcus uncoils the mics from the back pack as Rick is starting the deck. When the mics are fulling extended and stable at Marcus' forehead level, the first notes of Scarlet are seconds away. So to get that Comes A Time after such high stress was a monumental thing indeed. - John.

Notes: A patch from shnid 076115 was used before tuning, Set II (0:00 - 1:24) & in Drums (1:35 - 6:57) crossfades were added to smooth the transitions.  I softened the rumbling on the mics, as they were uncoiled, just a touch.  I could have removed much more, but I felt that would be wrong as its as much apart of the show as the music is.  No music was effected. - Joe.


Grateful to: Rob Darroch, Rick Katzeff & Marcus Buick for recording this show.
Grateful to: John Ammons for providing the DAT clones.  
Grateful to: Charlie Miller for his efforts & sharing shnid 076115 & Bill Tetzeli's additional work on it.

last Comes a Time 7/8/87
TOO tease before INAM

SOURCE 10 OF 13

2:53:19

Taper:

Marcus Buick;Rob Darroch;Rick Katzeff

Transferrer:

John Ammons and Joel Noel

SHNID:

gd1990-12-27.138040.BK4011.Schoeps.FOB.Darroch.Katzeff.Buick.Ammons.flac1648

Source:

Lineage:

Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optcal) > Mac Mini > Audacity 3.0 at 48K > Wave. By John Ammons from his DAT clone of the masters; Wave > xACT > flac > Audacity > labeled > patched > export multiple > flac 16/44 (level 8); Checksum & tags created in xACT; Set 1 is 16 bit 44.1 kHz, Set 2 is 16 bit 48kHz

Taper Notes:

View NotesThere were a bunch of rigs FOB during set 1, and it was quite casual. Mics on stands were not a problem. During set break, this punk kid with Schoeps (nice to be about 20 and going to shows with your $8,000 taping rig!) didn't completely break down his stand and put the gear away. He left the tripod open so the stand was a couple feet high and draped a coat over the mics. Well, this caught someone's attention, and the bust swept through big time, first getting him and then searching all bags in the vicinity. Everyone was at least busted to some degree, although bits and pieces of rigs made it out before the search. Ultimately Marcus, Rick, and I were able to meet in seats just off the floor shortly before set 2 was ready to start. There we assembled the "back up rig" - listed in the lineage for set 2. The lights went down while we were still to the edge of the floor, but we worked our way back to the original blanket as they were still tuning up. You can hear rumbling noises as Marcus uncoils the mics from the back pack as Rick is starting the deck. When the mics are fulling extended and stable at Marcus' forehead level, the first notes of Scarlet are seconds away. So to get that Comes A Time after such high stress was a monumental thing indeed. - John.

Notes: A patch from shnid 076115 was used before tuning, Set II (0:00 - 1:24) & in Drums (1:35 - 6:57) crossfades were added to smooth the transitions.  I softened the rumbling on the mics, as they were uncoiled, just a touch.  I could have removed much more, but I felt that would be wrong as its as much apart of the show as the music is.  No music was effected. - Joe.

SOURCE 11 OF 13

gd1990-12-27.136761.dusio.flac16

Source:

<b/>flac16: </b> Recorded by Chris DusioAT835's>SonyD6>That's Metal Cassette>ZoomF8>Audacity

SOURCE 12 OF 13

gd1990-12-27.127387.nak300.bowen.flac16

Source:

Source: Nakamichi CM-300x3; 2 CP-4 Shotgun Capsules + 1 CP-1; Cardioid Capsule > Boss BX-4 Mixer > Sony WM-D6C (MX-S 100 Masters);

Lineage:

Cassette Masters > Sony TC-D5M > HHb CDR 800 PRO Via Analog i/o > CD Masters > FLAC (Level 8) Via xACT 2.25; Location: OTS; SEC 112; Recorded/Transferred By: Jeff Bowen

Taper Notes:

View NotesTapers Notes:
This was (I think) the first show that I used the Nakamichi three-mic mix to record with.  There 
might be a bit of mixing fluctuations in the first set as I adjusted center mic in the mixer. 
Hamza El Din was awesome to see (and hear) during "Drums".  I think that was Ollin Arrageed that 
he played.  It sure sounded like the tapes of the Egypt shows from ’78.  I still can’t believe 
that my friend Jack, who was taping next to me, stopped his D5 during the Hamza El Din portion of 
the show!  I thought that was awesome.  He disagreed.

SOURCE 13 OF 13

gd1990-12-27.116109.NeumannKMF4.daweez.d5scott.flac16

Source:

Set 2 source: 2 Neumann KMF4 microphones - up front/center> Sony TC-D5M - analog master cassettes;

Lineage:

Sony TC-D5M (original record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac files

Taper Notes:

View Notesnote:    
** With Hamza El Din
---------------------------------
R.I.P. Sandy - aka "Bigfoot"  
---------------------------------