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Set I
Bertha, Truckin', It Hurts Me Too, Loser, Greatest Story Ever Told-> Johnny B. Goode, Mama Tried, Hard To Handle, Dark Star-> Wharf Rat-> Dark Star-> Me & My Uncle
Set II
Casey Jones, Playin' In The Band, Me And Bobby McGee, Candyman, Big Boss Man, Sugar Magnolia, Saint Stephen-> Not Fade Away-> Goin' Down The Road Feelin' Bad-> Not Fade Away-> Uncle John's Band
Set III
Comment
Mickey's last show until 10-20-74 - E.S.P. show - Other artist(s): NRPS
Last Changed By
System
Sources
(107) View Source
View Archive
SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR?-> CD-R; via Orf; disortion removed digitally (see notes); more info comparing Orf's NR to the WBOTB version; note the (possibly reextracted?) Orf version went to abgd 12/99 via D. Hollister, J. Sachs (md5s shown as "abgd", kindly provided by Eric Noon: note 2 versions- abgda, posted to abgd 1/19/00, has d2t2 sig different from Eric's abgdb, which he generated himself for the set- not sure which is correct)
(6672) View Source
View Archive
direct copy of WTOTB tape (see inf file notes); DAT > WAV > SHN by Dan Stephens: Tascam DA-20mkII > SBLive! (48-44.1) > WAV > MKW Audio Compression Too; upload by Scott Thompson
(85478) View Source
View Archive
flac16; Source: 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz > WBOTB Master DAT (DAT-1) Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. Transfer and mastering by Chris L.
(111793) View Source
View Archive
flac16; Recording Info: SBD -> Master Reel -> Dat (44.1k); Transfer Info: Dat (Sony R500) -> Tascam SS-R05 -> Adobe Audition v3.0 -> Samplitude Professional v11.2 -> FLAC; All Transfers and Mastering By Charlie Miller
(123539) View Source
View Archive
flac16; AUD. Recorded on cassette tape by Jim Cooper > Hitachi Trq-222, 2 unidentified mikes. Transferred > Sony tc we475 > dbx 2231 EQ > sony rcd w500c > CDR > WAV > FLAC
(123881) View Source
View Archive
flac16; source: aud cassette master taped by Jim Cooper; two unknown mics > hitachi trq-222 deck; tdk c-120sd tapes, low bias, no nr; nak dragon > tascam hd-p2 24/96 > pc > cd wave > adobe audition 2.0 ( nr ) 16/44.1 > flac; transferred & seeded by Rob Berger
(132101) View Source
View Archive
flac16; Partial 2nd Set; it is supposidly 4th gen audience recording from an unknown source; the transfer was not documented
(132136) View Source
View Archive
flac16; aud tape>fm>rr>c>d or aud tape>aud>fm>rr>c>d; broadcast on wgtb fm in washington, dc a couple days after the show
(107) View Source
View Archive SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR?-> CD-R; via Orf; disortion removed digitally (see notes); more info comparing Orf's NR to the WBOTB version; note the (possibly reextracted?) Orf version went to abgd 12/99 via D. Hollister, J. Sachs (md5s shown as "abgd", kindly provided by Eric Noon: note 2 versions- abgda, posted to abgd 1/19/00, has d2t2 sig different from Eric's abgdb, which he generated himself for the set- not sure which is correct)
(6672) View Source
View Archive direct copy of WTOTB tape (see inf file notes); DAT > WAV > SHN by Dan Stephens: Tascam DA-20mkII > SBLive! (48-44.1) > WAV > MKW Audio Compression Too; upload by Scott Thompson
(85478) View Source
View Archive flac16; Source: 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 @ 48 kHz > WBOTB Master DAT (DAT-1) Transfer and mastering: Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. Transfer and mastering by Chris L.
(111793) View Source
View Archive flac16; Recording Info: SBD -> Master Reel -> Dat (44.1k); Transfer Info: Dat (Sony R500) -> Tascam SS-R05 -> Adobe Audition v3.0 -> Samplitude Professional v11.2 -> FLAC; All Transfers and Mastering By Charlie Miller
(123539) View Source
View Archive flac16; AUD. Recorded on cassette tape by Jim Cooper > Hitachi Trq-222, 2 unidentified mikes. Transferred > Sony tc we475 > dbx 2231 EQ > sony rcd w500c > CDR > WAV > FLAC
(123881) View Source
View Archive flac16; source: aud cassette master taped by Jim Cooper; two unknown mics > hitachi trq-222 deck; tdk c-120sd tapes, low bias, no nr; nak dragon > tascam hd-p2 24/96 > pc > cd wave > adobe audition 2.0 ( nr ) 16/44.1 > flac; transferred & seeded by Rob Berger
(132101) View Source
View Archive flac16; Partial 2nd Set; it is supposidly 4th gen audience recording from an unknown source; the transfer was not documented
(132136) View Source
View Archive flac16; aud tape>fm>rr>c>d or aud tape>aud>fm>rr>c>d; broadcast on wgtb fm in washington, dc a couple days after the show
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Collectors With This Show
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| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| x poordevil (1/5) | dvd shn / 1 | View | 85478 | |||
| J Parzych (1/5) | FLAC / 0 | View | 111793 | SBD -> Master Reel -> Dat (44.1k) | ||
| J Parzych (1/5) | FLAC / 0 | View | 85478 | 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) | ||
| J Parzych (1/5) | FLAC / 0 | View | 107 | SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R | ||
| J Parzych (1/5) | FLAC / 0 | View | 123881 | |||
| ojo (1/2.3) | cdr / 3 | A | View | SBD | ||
| OldNeumanntapr (1/5) | FLAC / 0 | A+ | View | 107 | Soundboard >Dolby A Reel >Dolby A Decode >DAT >Soundforge NR >CDR | |
| Notes: | Mickey's Last Show Until 10/20/74 | |||||
| Joe (1/5) | FLAC / 0 | View | 111793 | |||
| Imetdork (1/0) | FLAC / 0 | View | 111793 | |||
| Alex Bushe (1/5) | CD-R / 3 | A | View | 107 | SBD | |
| aikox2 (1/4.9) | / 0 | View | ||||
| John Peters (1/0) | FLAC / 1 | View | 111793 | SBD: MR > DAT (44.1k); DAT (Sony R500) > Tascam SS-R05 > Adobe Audition v3.0 >... | ||
| michael rosenberg (1/5) | flac/cd / 2 | A | A | View | 111793 | SBD -> Master Reel -> Dat (44.1k) |
| Notes: | Last show with Mickey Hart until 10-20-74 | |||||
| Geoff MacNaughton (1/5) | 2 / 3 | A | View | 107 | Betty Board Dolby A Reel>Dolby A Decode>DAT>Sound Forge NR>CDR | |
| Richard Markley (1/5) | SHN / 2 | View | SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R | |||
| Notes: | DVD4 | |||||
| Richard Markley (1/5) | SHN / 2 | View | 6672 | |||
| Notes: | DVD157 | |||||
| Richard Markley (1/5) | SHN / 2 | View | 6672 | |||
| Notes: | DVD253 | |||||
| Richard Markley (1/5) | flac / 2 | View | 85478 | |||
| Notes: | DVD557 | |||||
| Richard Markley (1/5) | flac / 2 | View | 111793 | |||
| Notes: | HD2 | |||||
| James (1/0) | / 0 | View | 111793 | |||
| Richard (1/5) | CD-R / 2 | A+ | View | S:bRPD | ||
| SIRMick (1/5) | / 0 | View | 85478 | |||
| SIRMick (1/5) | / 0 | View | 107 | |||
| SIRMick (1/5) | / 0 | View | 6672 | |||
| teradon collins (1/5) | SHN / 3 | A | View | 107 | ||
| Notes: | 2 SHN | |||||
| John Clexton (1/0) | Tape / 2 | View | ||||
| John (1/4.9) | CD-R / 3 | View | soundboard. | |||
| Notes: | Tape goes out for a second during St. Stephen. | |||||
| Matt Vernon (1/4.8) | SHN / 3 | A- | A- | View | 107 | |
| Notes: | Show is historically notable: Mickey's last show until 10/74; earliest Betty Board(?); many song firsts - Bertha, GSET, Loser, Playin', JBG, Wharf Rat. GSET differs a fair bit from the way it is eventually played. Sound quality somewhat bright (low bass) compared to later boards but mix is balanced. St. Stephen has a cut or brief tape issue at a critical moment which diminishes the song's impact. Dark Star in set 1 has an interesting jam that made it into an official release as some filler (called the "Pretty jam?") and the sandwich of it around Wharf Rat (with the "Down by the docks of the River" lyrics) suggests they had thought about how to introduce this song, but not one of my favorite versions of this song. Overall I would say this is a solid show but not one that I wanted to immediately hear again because the energy level is just too low and set 2 has no momentum. After hgearing set 1 you are expecting some magic in set 2 but it doesn't come. Maybe they already knew Mickey was out and they were thinking of other things.... [10/4/2004] | |||||
| Matt Vernon (1/4.8) | SHN / 3 | A- | A- | View | 6672 | |
| Notes: | WTOTB Stephens - direct transcription. No issues with the sound or mix of any significance. Many firsts. The Dark Star > Wharf Rat > Dark Star in set 1 is unusual and good - unusual because the 1st time Wharf Rat is played and it is inside of a Dark Star which has the unique "Beautiful Jam" on the reprise. Pigpen's electric piano is noticeable in the mix at teh start of set 2. The SS > NFA > GDTRFB > NFA set 2 closer is solid but not transportational. Similar to 2/19 in consistency and sound, with a few highlights and teh rest typical of what we associate with the 71 sound. | |||||
| Matt Vernon (1/4.8) | FLAC / 2 | A- | A- | View | 85478 | |
| Notes: | BBD source mastered by Ladner [2007-07-06]This is the preferred bbd source for this date. Very nice mix and sound quality. Wanted to note that on this listen, where Wharf Rat made its first appearance, it did so following a rare 1st set Dark Star. It seems that from the get go, Garcia placed Wahrf Rat where it would always be played, as an exit from some deep "set 2 style "jam. Dark Star > Wharf Rat* > "Beautiful Jam" (it is amazing to me that each year there are one or two occasions where it appears truly inspired improv happens, this is one of those cases) > Dark Star > Me & My Uncle. Also, at some time I want to trace the evolution of how cowboy tunes such as MAMU or SOTOTW were inserted into TOO or Dark Star as transitions. Set 2 is more of a train wreck at places (NFA) where the band seems to be going different ways at once. | |||||