12 Drums | 1993-01-26 | Grateful Dead

View NotesNotes:
-- Dragon Dance during Drums
-- Space thru the end of the show with Carlos Santana
-- Thanks to Rob Darroch, John Ammons and Joe Noel for the patch source
-- This file set is 16 bit @ 44.1

SOURCE 2 OF 10

2:52:32

SBD

Transferrer:

Charlie Miller

SHNID:

gd1993-01-26.143161.sbd.miller.flac2496

Source:

SBD > Dat Master > Cassette Master (Tascam 122mkIII/TDK SA-X100)

Lineage:

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > KORG AudioGate 4 > Samplitude Pro X3 Suite > FLAC/24

Taper Notes:

View NotesNotes:
-- Dragon Dance during Drums
-- Space thru the end of the show with Carlos Santana
-- Thanks to Rob Darroch, John Ammons and Joe Noel for the patch source

SOURCE 3 OF 10

gd93-01-26.sbd.miller.26346.sbeok.shnf

Source:

SBD> Dat> Cassette Master> Dat> CD> EAC> SHN

Taper Notes:

View NotesSBD> Dat> Cassette Master> Dat> CD> EAC> SHN; Converted To SHN By Charlie Miller

SOURCE 4 OF 10

Joe Noel and John Ammons

SHNID:

gd1993-01-26.141744.FOB.s2.Schoeps.Darroch.Ammons.Noel.t-flac1648

Source:

<b>flac16/48kHz</b>; Set 2 Rob Darroch recording [FOB DFC]: Schoeps MK4 Capsules in hat > Bill Reutelhuber PS > Panasonic SV250. Mics worn in hat by Rob Darroch; John Ammons Transfer; Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optical) > Mac Mini > Audacity 3.0 at 48K > Wave

Taper Notes:

View NotesNotes:
- Chinese Acrobats opened
- Dragon Parade during Drums
* w/ Carlos Santana
- Happy FourTwenty!

SOURCE 5 OF 10

2:58:01

SHNID:

gd1993-01-26.141068.fob.cmc3-mk4.ebel.flac1644

Source:

<b/>flac16/44.1 </b> Source Info:FOB Schoeps CMC3 Mk4-> DAT (Traded to me as so, but not so sure)Transfer Info:Dat Tape (Panasonic SV-3700)-> Marantz CDR-615-> CD (Late 90's)Extract Wav-> Flac Level 8-> Tagged (16/44.1)Transfers by Pete Ebel

Taper Notes:

View NotesNotes:
* Crowd fill before Encore from source #85933. Deck was paused (1:48:47->1:52:06) of set.

* Set #2 is Seamless

* Not sure why this one's sound is so off. The FOB claps are very clear, but the music is distant.

SOURCE 6 OF 10

gd1993-01-26.134781.fob.jbraveman.flac1648

Lineage:

DATx > Microtrack 24/96 16/48 > WAV > Flac (TLH)

Taper Notes:

View NotesNotes: Few edits made in Goldwave, no flaws noted, excellent upfront audience recording.
DAT Transfer by jbraveman@hotmail.com December 2015

SOURCE 7 OF 10

Scott Swayne and Carl S.

Transferrer:

Scott Swayne

SHNID:

gd1993-01-26.akg.swayne-carls.85934.flac1648

Source:

AKG 460/CK8's (2' spacing on custom T-Bar) > Marantz PMD-700 > (clone) DA-P20

Lineage:

Tascam DA-30 -[S/PDIF]-> (48k) Diamond xTreme SC > Cool Edit Pro > CDWave > FLAC (L8)

Taper Notes:

View Notes* with Carlos Santana ** Dragon Parade

My at-the-show notes indicate some PA issues during 'Women' and 'Eyes,' most apparent in ' Women'in the form of a slight low-end resonance. This gets resolved.  

This is the 48k version. 
Down-sampling to 44.1k required for burning to audio CD. 
The 44.1k version was also seeded for this source.

I went through all of my Oakland OTS tapes, and decided to seed this one. There's something about this show I really dig (the space actually).

Trust and believe, some really crappy Oakland tapes were made (since they sounded like they were recorded from inside the crapper). I don't think this is one of them, but make no mistake, FOB's of shows at this venue are what you want when it's said-and-done.

Those of us who stuck to the OTS could be divided into to groups... whose who tried to make the best of a bad taping section, and those who were just fine making their tapes up towards the nosebleed end of this wretched OTS.  

I was in the first group. Our mics were on the flont rail of the section. We would've used some unsuspecting show-go-er to extend our mics out over this rail if we could've been certain the 30' foot drop to the concrete below wouldn't have injured them too bad... :) 

Like I said, this recording is not FOB, but it's no echoey-boomy-muddy turd, either. I feel it's superior to that which is currently available on the LMA, especially with headphones on. Since we were running an extra-wide custom T-Bar, (about 2 feet from mic-to-mic), we were able to get better separation, about as good as you could do in the taping section without overdoing it and getting an unnatural-sounding image. 

Take it for what it's worth. FOB's will materialize someday.

SOURCE 8 OF 10

2:58:53

Taper:

Scott Swayne and Carl S.

Transferrer:

Scott Swayne

SHNID:

gd1993-01-26.akg.swayne-carls.85933.flac16

Source:

AKG 460/CK8's (2' spacing on custom T-Bar) > Marantz PMD-700 > (clone) DA-P20

Lineage:

Tascam DA-30 -[S/PDIF]-> (48k) Diamond xTreme SC > Cool Edit Pro (44.1kHz) > CDWave > FLAC (L8)

Taper Notes:

View Notes* with Carlos Santana **Dragon Parade

My at-the-show notes indicate some PA issues during 'Women' and 'Eyes,' most apparent in 'Women'in the form of a slight low-end resonance. This gets resolved.  


------------------
ABOUT THIS SOURCE
------------------
This is the 44.1k version. 
The 48k version was also seeded for this source.

I went through all of my Oakland OTS tapes, and decided to seed this one. There's something about this show I really dig (the space actually).

Trust and believe, some really crappy Oakland tapes were made (since they sounded like they were recorded from inside the crapper). I don't think this is one of them, but make no mistake, FOB's of shows at this venue are what you want when it's said-and-done.

Those of us who stuck to the OTS could be divided into to groups... whose who tried to make the best of a bad taping section, and those who were just fine making their tapes up towards the nosebleed end of this wretched OTS.  

I was in the first group. Our mics were on the flont rail of the section. We would've used some unsuspecting show-go-er to extend our mics out over this rail if we could've been certain the 30' foot drop to the concrete below wouldn't have injured them too bad... :) 

Like I said, this recording is not FOB, but it's no echoey-boomy-muddy turd, either. I feel it's superior to that which is currently available on the LMA, especially with headphones on. Since we were running an extra-wide custom T-Bar, (about 2 feet from mic-to-mic), we were able to get better separation, about as good as you could do in the taping section without overdoing it and getting an unnatural-sounding image. 

Take it for what it's worth. FOB's will materialize someday.

SOURCE 9 OF 10

gd93-01-26.aud.ladner.21493.sbeok.shnf

Taper Notes:

View NotesEnd of set 2 with Carlos Santana.

SOURCE 10 OF 10

gd1993-01-26.aud.seff.4083.shnf

Source:

AUD > DAT @48k

Lineage:

DA-20mkII > Hosa S/PDIF > Delta DiO 2496 > Peak > WAV @44.1k > SHN (no extraction)

Taper Notes:

View Notes* - w/Carlos Santana