Grateful Dead
81-08-28
Long Beach Arena
Long Beach, CA
–Set 1–
101-d1t01 – Jack Straw
102-d1t02 – They Love Each Other
103-d1t03 – Me & My Uncle ->
104-d1t04 – Big River
105-d1t05 – Althea ->
106-d1t06 – Little Red Rooster
107-d1t07 – Brown Eyed Women
108-d1t08 – Let It Grow ->
109-d1t09 – China Cat Sunflower ->
110-d1t10 – I Know You Rider
–Set 2–
201-d2t01 – Shakedown Street ->
202-d2t02 – Lost Sailor ->
203-d2t03 – Saint of Circumstance ->
204-d2t04 – The Wheel ->
205-d2t05 – Never Trust a Woman* >
206-d2t06 – Jam (Jerry, Brent, Billy & Mickey) >
207-d2t07 – Drums ->
208-d3t01 – Space ->
209-d3t02 – Spanish Jam ->
210-d3t03 – Truckin’ ->
211-d3t04 – Wharf Rat ->
212-d3t05 – Sugar Magnolia ->
213-d3t06 – Sunshine Day Dream
–Encore–
U.S. Blues **
**Missing from source 1
Notes:
* First “Never Trust A Woman”
Source 1:
This is a flac encoded & tagged version of shnid: 9572
Sources:
SBD>?>CD
AUD>MC>DAT>CD
Tools:
CD audio extraction done in Secure Mode with EAC 0.93b3
Clean-up of SBD source done with Sound Forge 4.5
Pitch adjustment to SBD source done with Goldwave 4.25
Patching of SBD source with AUD source done with Multiquence 2.50
WAV splitting done with CDWave 1.7
Sector boundaries verified with SHNTOOL 1.01
Seeking SHN encoding done with MKWact 0.97b1
D1T01 – 0:00-1:09 AUD patch (Jack Straw)
D1T07 – 2:07-2:16 and 3:44-3:53 AUD patches (Brown Eyed Women)
D1T10 – 5:12-5:14 AUD patch (“We’re gonna take a short break…”)
D2T01 – 0:00-0:39 AUD patch (Shakedown Street)
D2T05 – 1:40-2:04 AUD patch (Never Trust A Woman)
D3T04 – 8:02-EOD AUD patch (Wharf Rat through Sunshine Daydream)
Discs Two and Three are seemless across discs.
Major domo arigato to Willy and Chris Cantergiani for the SBD
source discs, and to Frater Pederabo for the AUD source discs!
Another installment of The Music Never Stopped Project!
PainoMan – May 2002
Source 2:
SHNID: 91231
MOTB Release: 0065 16/44.1
Release Date: 2008-04-07
Analog Audience Source: FOB Master Cassettes (MAC)
Medium Stock Brands: MAC = 3 x Maxell XLIIS 90
Analog Lineage: 2 x Nakamichi CM-700 => Sony TC-D5 >> MAC
Analog Sound Preservation: MAC >> Nakamichi DR-1 => Grace Design Lunatec V3 [Pre-Only] => Korg MR-1000 >> DSF [1-bit 5.6448 MHz Stereo] >> Korg MR-1000 => Korg AudioGate >> WAV [24/96]
Taped By: Ron Ellner
MAC Supplied By: Barry Glassberg
Transfer By: Adam Egert
Mastering By: Adam Egert (EQU)
Mastering By: Bill Koucky (Edits/Tracking)
Mastering Notes
— Discs 2 and 3 are seamless.
— d2t07 – Used gd81-08-28.sbd-patched.painoman.9572.sbeok.shnf (shnid=9572) as patch source for tape flip during “Never Trust A Woman”; 2:46 – 2:57.
— Crossfades were applied during first set pauses and for tape flip after “Little Red Rooster”.
— Crossfades were applied for tape flips at the end of “Drums” and before “U.S. Blues”.
— Several large microphone taps were edited out at the beginning of the sets, while minor taps remain; crossfades were applied.
Source 3:
This is a tagged version of shnid: 92893
Matrix Mix
SBD Source: SBD>?>CD>WAV (100%)
AUD Source: MAC>DAT>CD>WAV (50%)
2008 Update: Encore Source: Barry Glassberg’s master audience recording (shnid=91231).
Tools:
Dell Inspiron 8200
Windows XP w/ Service Pack 2
EAC 0.95 beta 4
Multiquence 2.51
Adobe Audition 2.0
Ozone 3 (Audition Plug-In)
CDWave 1.96.1
SHNTOOL 2.0.3
MDsSummer 1.1.0.24
FLAC Frontend 1.7.1 (Etree Edition)
———-
Notes:
* First “Never Trust A Woman”
D1T01 – From 0:00 to ~1:09 AUD source only (Jack Straw)
D1T07 – From ~2:07 to ~2:16 and ~3:44 to ~3:53 AUD source only (Brown Eyed Women)
D1T10 – From ~5:10 to 5:13 AUD source only (“We’re gonna take a short break…”)
D2T01 – From 0:00 to ~0:39 AUD source only (Shakedown Street)
D2T06 – From ~1:40 to ~2:04 AUD source only (Never Trust A Woman)
D2T06 – From ~2:40 to ~2:50 SBD source only (Never Trust A Woman)
D3T04 – From ~8:02 to EOD AUD source only (Wharf Rat through Sunshine Daydream)
Discs Two and Three are seemless across discs.
———-
Ok folks, this one was a labor of love!
This show was probably the first soundboard cassette I acquired, many moons ago, and I have loved it
ever since the first time I listened to it. I can honestly say that if I absolutely HAD to pick one
show to listen to, this one would be it. Hell, after this little project I don’t need the recording…
I can play it back in my head note-for-note!
When I was adding in the aud patches to the original soundboard source, I worked with a program called
Multiquence to do the crossfades. I like a nice smooth transition from aud to sbd, and when I got the
the two sources in sync to do the crossfades, I noticed that the two sources together sounded pretty cool!
So after a while I decided to try to do a matrix-type mix and see what I came up with.
I had discovered that the soundboard source was pitched slow when I patched it with the aud, and I
corrected it for the 05/22/02 seed. As I began to try to sync up the two sources with more percision
for the matrix mix, I discovered that not only was it slow, the speed also varied constantly throughout
the entire recording. It varied only by a very small amount, and you could really only detect it by
doing this type of mix.
In Multiquence, using the aud source as the base, at the beginning of the recording I corrected the
speed of the soundboard source to match the aud. When it soon went out of phase, I made a virtual
split in the wavform just before it went out of phase. I then adjusted the speed of the new section,
using the peaks of the waveforms and my ears as guides to again match the aud source. Very soon again,
the soundboard source would slowly drift out of phase sometimes slowing, sometimes accelerating.
I would then repeat the split-and-correct process to get it back in sync. I ended up making 59 sections
for the First Set, and 93 sections for the Second Set. Some sections are only a few seconds long, and
some are a couple of minutes. The longest section I had was right around five and a half minutes.
It was a very painstaking process and I really wanted to make this thing sound good. The mix is 100%
soundboard and 50% audience, with 100% audience in the sections where there was missing material from
the soundboard source. In those areas I tried exceptionally hard to make the crossfades so smooth that
you can’t hear the transition from aud to sbd/aud at all. Well, I don’t think I got it just exactly
perfect, but if your not really paying attention too closely, you might not notice the transitions.
I know exactly where they are because I listened to ’em over and over and over and over and over again!
This is an absolutely FANTASTIC show (Willy would tell ya that the night before was better, and he was
there so maybe he’s right, but I dunno…). They boys were not just playing songs on this night, they
were creating an incredible universe complete with galaxies, planets, and stars. I swear this is a
magick recording. Every time I listen to it I hear something I hadn’t heard before, an accent is a
bit stronger or in a different place. Get baked and kick back with this one at a good listening
volumn and you WILL be taken there!
In the end, I think I got a better sounding recording than the aud or soundboard source alone. I know
there must be an easier way of doing this type of thing, with SMPTE time coding or something, but with
the tools I had available to me, I think it came out pretty cool! But you can decide for yourself, and
please let me know what you think.
Once again, major domo arigato to Willy and Chris Cantergiani for the SBD source discs, and to
Frater Pederabo for the AUD source discs!
PainoMan (painoman2001@hotmail.com)
Yokosuka, Japan – Colorado Springs, CO
January 2004 – December 2007
Source 4:
This is a tagged version of shnid: 113680
Recording Info:
SBD -> Cassette Master -> ? -> CD
Transfer Info:
CD -> Adobe Audition v3.0 -> Samplitude Professional 11.2 -> FLAC
(3 Discs Audio / 2 Discs FLAC)
All Transfers and Mastering By Charlie Miller
charliemiller87@earthlink.net
May 15, 2011
Patch Info:
(FOB) Nakamichi 700 -> Cassette Master -> FLAC (shnid=91231) supplies:
Jack Straw (0:00 – 1:08)
Brown Eyed Women (2:06 – 2:19) (3:44 – 3:56)
Shakedown Street (0:00 – 0:50)
Never Trust A Woman (1:28 – 1:56)
Wharf Rat (7:51 – end of track)
Sugar Magnolia (complete track)
U.S. Blues (complete track)
Notes:
— Set 2 is seamless
— Numerous flaws removed from recording
— Thanks to Joe B. Jones for his help with the pitch correction
