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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
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(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 |
|---|---|---|---|---|---|---|
| Sean Kelly (5/0) | / 0 | View | SBD | |||
| Mark Page (5/4.7) | CDR / 3 | A | View | SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R | ||
| Notes: | Philzone: Grateful Vine #49......2-18-71....Capital Theatre #3 | |||||
| Joe Rizzo (5/4.8) | CD / 3 | A | View | SBD | ||
| Notes: | 2 SHN - Betty Board | |||||
| VinnyF (5/0) | / 3 | A+ | View | |||
| garret (5/0) | SHN / 24 | A++ | A | View | 107 | SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R |
| Notes: | * first performance The original reels of the Port Chester run of '71 were audibly tainted due to a cable problem. The result is a tone which hovers around 8000 Hz with an amplitude of about +20 dB above the noise floor. This translate to a very annoying pitch, especially during quiet sections, which is in the old-tv-tube or lousy-hard-disk or maybe even the-sound-you-hear-after-you-slam-your-head-against-a-concrete-wall class of 'whine'. Because this interference is 'monochromatic' it's easy to get rid of if you have the processing power and a quick FFT algorithm. I used the filter-shaping capabilities of the Sonic Foundry Noise Reduction Plugin to tailor a very narrow notch filter which attenuated the interference without affecting the rest of the signal. And it's all done in the digital domain. Huzzah! As a side note, I actually ended up crafting many filters to process these shows. The frequency of the interference actually drifted anywhere from 7700 to 8100 Hz during a given show. This was probalby due to a slightly wandering reel speed. It made my work harder but when I tried a much wider filter I started to be able to hear the attenuation in the music. The filters generally go like this: 25 dB /- - - - - - - -\ / \ / \ 0 dB | | 7830 7900 7970 The end result is no more annoying whine! I also removed some of the nasty mic feedback in the 2/18/71 Bertha using this type of filter. Leigh Orf <[email protected]> | |||||
| garret (5/0) | Flac / 25 | A++ | A | View | 85478 | 7" two track BBD reel w/ Dolby A @ 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out >... |
| Notes: | Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer. Comments: *First public performance. - d2t08: Reel flip at 04:48 of "Saint Stephen" crossfaded. - Approximately 1:39 were removed from the lengthy dead space/tuning preceding "Loser" allowing the entire first set to fit on a single 80 minute disc, while keeping in Bob's "Second oldest ritual" comment... that's a fact.... - Intermittent faint audible artifacts/pops were attenuated using manual pencil redraw under high magnification. These were retrospectively found on all other circulating recordings from this performance. They were most abundant at the beginning of "Dark Star" and also at the start of "Wharf Rat". There are a few spots still remaining in "Wharf Rat" that are just too embedded to get out - sounds like minor transient peak distortion. - The notorious broad-peaked high pitched whine centered 8000-8100 KHz range was removed using a digital paragraphic equalizer (Waves Q6) with 2 narrow/notch bands (Q set maximal @ 100, -12 dB) set at just under and over 8000K for the first reel and just under and over 8100KHz for the last 3 reels. Previously circulating sources either used a wider band filter or a noise reduction approach performed on low bit/sample rate files which yields suboptimal results. All processing on this transcription was performed at 24/96 resulting in a much smoother transparent sound. | |||||
| john (5/5) | / 2 | View | 6672 | direct copy of WTOTB tape (see inf file notes); DAT > WAV > SHN | ||
| barry bryson (5/4.3) | analog/180 / 2 | View | aud | |||
| Ryan (5/5) | shn/cdr / 3 | View | 107 | |||
| Dan McDonald (5/5) | / 2 | A | View | SBD>R>DAT>CDR | ||
| Notes: | SBD>R>DAT>CDR | |||||
| hanno (5/5) | / 0 | View | 107 | |||
| gagabbard (5/5) | .shn / 2 | A+ | A | View | ||
| Notes: | This is an outstanding show. 1st performance of: Bertha Loser Greatest Story Ever Told Wharf Rat Playing In The Band Johnny B. Goode Mickey Hart’s last show until 10-20-74 Bad splice d3t4 4:47 Caveat Emptor: The stage banter (D2T05) has a small cut at 0:08 seconds cutting off Bob Weir's yell. | |||||
| Zak Wolff (5/5) | SHN / 2 | View | 107 | |||
| Scott (5/0) | CD-R / 3 | A | View | |||
| Andrew Murawa (5/5) | cd / 2 | B+ | View | SBD > Dolby A Reel > Dolby A decode > DAT > Sound Forge > CD-R | ||
| Notes: | some static during Bertha | |||||
| Matt Bertollo (5/5) | CDR / 3 | SBD | View | SBD - SHN -> EAC -> CDR | ||
| Notes: | E.S.P Show Many First Time Played's | |||||
| Bouwser (5/5) | Cassette / 2 | A | View | SBD | ||
| Cappy (5/0) | SHN / 1 | View | 6672 | |||
| Notes: | Betty Board | |||||
| Kyle (5/5) | CDR / 2 | A+ | View | |||
| Dan Karan (5/4.9) | cdr / 2 | A- | View | |||
| Notes: | "This Better Be Good"; Moonlight, ML9504-5 | |||||
| Rob Lecker (5/0) | CDR / 3 | A | View | 107 | SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R | |
| noah phence (5/0) | / 0 | View | ||||
| jfresh (5/4.3) | cdr / 3 | View | ||||
| jfresh (5/4.3) | / 0 | View | ||||
| Notes: | no trades | |||||
| Neil Cohen (5/5) | / 3 | B+ | View | sbd | ||
| Notes: | 1st Bertha, Greatest | |||||
| Cptn Trips (5/3) | CDR / 3 | A+ | View | SBD | ||
| Sean McIntyre (5/0) | CD / 3 | View | 6672 | SBD | ||
| Notes: | " two track BBD reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.055 kHz PCM501ES analog out > dolby A decoder > Apogee filter > analog in PCMF1 PCM501ES analog out > Fostex D5 @ 48 kHz | |||||
| chooglin (5/0) | / 0 | View | 107 | |||
| Tim Durand (5/5) | CD-R / 3 | View | ||||
| jamestowne (5/0) | CD / 3 | View | ||||
| Notes: | SWEEEEEET show! Beautiful Jam between Dar Star and Wharf Rat is on the So Many Roads Box set. | |||||