No worries. I guess it stands to reason that Jerry wouldn't just jump into Groovy; he'd have to re-set the mood with some soloing and let Groovy fall in where it may (and as it does).
1968: the few multi-track shows were recorded only on multi-track, I don't think any have separate 2-track recordings. 1969 Fillmore West: they have Bear's 2-track tapes in the Vault, used as patches on the box, however the only tapes circulating were mixdowns from the multitracks, not Bear's separate recordings. 1970 Fillmore East: I think Bear made a big deal that his recordings represented exactly what was coming off stage, so basically the FOH mix, and I believe the Fillmore East secret tapers' mix would be the same. (Haven't checked for differences anyway.) On the 2/11/70 audience tape you can tell the guitarists' actual volume onstage is not what's on the SBD tape. But in the Bear years it's rare to find clear audience tapes to compare with the SBDs. 1971 Fillmore East: the multi-tracks are separate from the 'secret' 2-track recordings. But I don't know whether Betty & crew were also making their own 2-track reference tapes as usual, as she would do in E72. Some intrepid explorer could sort through all the various mixes of these shows that are available...
I'm pretty sure all SBD tapes (on the Archive, at least) are from either the multitracks or the Buddy Miller two-tracks, but at the moment db.etree.org is down so I can't easily check what else might have surfaced.
That's great!! What show is that from? @usblues --I am unable to detect very much evidence of a "decline" in Garcia's playing in that video...
As was said, I don’t think Norman uses NR unless there was a tape glitch maybe, but I do think he positions the recording more full range in the stereo image than maybe he has in the past, so in some sense it is harder to see the quieter edges of things, a little less breathing room if you will; so I can see that having a dulling effect in the sense it hits you more full on which overtakes the quieter bits. I don’t think I’ve listened to a recent Norman vs. Miller, but just listening to the December ’17 Miller release of 6-26-74 last night, he maintains that quieter mastering touch so you hear quieter smaller hissy things better maybe? That or any extra gen or dat add a little brightness. I certainly noticed there was lots of openness and nice high end and a bit of hiss listening to 6-26-74 last night. I could see this being compounded by earbuds. Just my guess as to the possible effect.
I am almost certain that the 2-track tapes from 69 Fillmore West circulate. I think they were from Gastwirt/Miller last year? Where's db.tree when we need it, LOL!
Just checking if you were maybe thinking of Lesh's or Healy's mixdowns by chance? Probably not but I thought worth checking.
I just was looking into Jay Blakebergs new book "Eyes Of The World" any reviews on this? Worth a pickup? I was also thinking about finding a copy of "Grateful Dead Gear"..anyone own these books?
Text file from a well know torrent place (hopefully saying the "T" word doesn't ruffle any feathers): February 28, 1969 Fillmore West San Francisco, CA Sets I & II From the Rich Gastwirt Collection SBD > 2-track Master Reels > Dat Charlie Miller Transfer: Dat (Sony PCM-R500) > Tascam DA-3000 > wav 16/48 Edited & Mastered in Audacity by Joe Noel: Wave > Flac 16/48 Checksum & tags created in xACT. patch info: - source #132672 (SBD) - s1t01; 0:00 - 0:45 - s2t03; 4:13 - 7:55 - s2t04; 0:00 - 0:15 Notes: - Officially Released: Fillmore West 1969: The Complete Recordings. - Where it all began, the two track. - Wipe Out?? Buster's in the wrong place. - The Jam. Jerry is planning ahead when he digs in here. - Good Nite Electronic Mice. - Set I - s1t01 - [Bill Graham Intro] Morning Dew s1t02 - Good Morning Little School Girl s1t03 - Doin' That Rag s1t04 - I'm A King Bee s1t05 - Turn On Your Love Light - Set II - s2t01 - [Bill Graham Intro] Thats It for the Other One -> s2t02 - Dark Star -> s2t03 - Saint Stephen -> s2t04 - The Eleven -> s2t05 - Death Don't Have No Mercy s2t06 - Alligator -> s2t07 - Drums -> s2t08 - The Jam -> s2t09 - Caution (Do Not Stop on Tracks) -> s2t10 - Feedback -> s2t11 - We Bid You Good Night
Sorry to just randomly interject. Does anyone else find it sad that there is no more 'Grateful Dead'? Sure there's 'dead and company' and various tribute bands, but I always felt that the grateful dead should have continued with original and non original members. Just keep the whole thing going for future generations. When newer members quit or die, just requite new people to keep the music and community going! The new incarnations could record new music and just keep the band going. The grateful dead is much more than just some guys anyways... perhaps im just a bit hazy on this Friday afternoon and I do understand retiring the whole thing when Garcia passed but i think it could've been cool to keep the spirit and music alive (not that it's not, but still)...
Good post. I know on my Marantz 2275 through Monitor Audio speakers, the official Betty board just absolutely jump out of the speakers, great soundstage, great frequency response, and yes, oceanic low end. It’s lost in translation a little over run of the mill ear buds though. Might just be a matter of what you’re used to. If you’re used to a sizzling high end and some of the low end dulled down, when you hear the high freqs as they actually are vs being compressed and muddied up, and less of the low end, when it’s opened up I can see how that might be a little jarring and different.
Thanks. I do want to be clear that Charlie's work represents the gold standard in terms of circulating sources, that said a better transfer of the master tape makes a big difference in what we hear. If you are interested in hearing Charlie's work unfettered, find the Phil and Friends shows from April 1999 on the Archive, mixed from 24 track. Absolutely brilliant presentation of Phil with Kimock, Anastacio, McConnell and Molo. Talk about sonics! PS- Set I of 17 April is the one.
I feel like stopping when they did was exactly the right thing to do at the right time. Could see argument for bringing back the brand after a mourning/cool off period maybe, but personally I like keeping the Garcia Dead and the post-Garcia dead filed in to separate categories.
I’m with you, but isn’t that basically what Dead and Co is? Phil’s not with them, but I’m of the understanding that Phil simply can’t handle the strain of touring, and hasn’t been able to for awhile. Everyone that’s still alive save Phil is there, and they’re playing the same songs. But when you bring in a lead guitar that’s capable of the job, a new bassist, keys, invariably the sound, feel, and jam nuances are going to change up. I’ll save a critique of the Dead and Co for another time, but as far as I can tell, the spirit of the music in a live touring format with those that are still around is as alive as it could possibly be in 2018.
It's pretty fascinating to me - how much lineage and sources can affect sound. It's the continual "is it my guitar or is it the amp making that sound" question, ya know? It's just something apparent to me. If noone else hears it that's cool. I love hearing about the differences in tape sources and microphones and all that stuff. Fascinating!
I'm pretty sure all the circulating 2-tracks are from the multitrack mixdowns that Healy did back when the From the Vault series started -- none are 2-tracks recorded during the shows. As far as I know, Bear's tapes are available only as small patches. The guest guitarists, that is -- Bear didn't accommodate guests very well in his tape mixes! (I don't think he was checking their recording levels very closely.) Sampling a few of the 1970 audience tapes -- 2/8, 2/13, 2/14, 4/9, 4/12, 6/4, 6/5 -- it looks like the SBD recordings are otherwise generally an exact match to what the audience heard. Some tapers were closer to Jerry's amps, or have louder bass or more distant vocals, but in general the stage mix matches the SBD tape. One minor taping tidbit -- on 6/13/70, which I think Bob Matthews taped, you get a rare example of the SBD mix being adjusted as the tape starts during Easy Wind. (Track 12 on this copy.) www.archive.org/details/gd70-06-13.sbd.hanno.9079.sbefail.shnf It's about the only time in 1970 I can think of where you find the SBD taper creating the tape-mix on the fly during the first song (this is something you hear a lot more often in Wall of Sound '74 shows), but as you hear on the audience tape, the PA mix was already set. But it might be splitting hairs to call this a distinct "recording mix."
10/11/77 Norman, OK is my show for tonight. Fall '77, aside from official releases, has been an era completely ignored by me. A lot of the shows seem to not sound as good as the rest of the year (why?) and the setlists kinda bore me more than I'd like to admit. That being said, this show features a fantastic (to my taste) setlist and excellent sound. First listen right now. And we kick it off with a rare Help>Slip>Frank. Always a plus!
I'm of the newer generation (23 going on 24) and I'm kinda glad they haven't kept it as The Grateful Dead. Dead and Co or The Dead are perfect for "continuation" versions of the band, imo.
