Grateful Dead 08/27/1972

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Set I

Promised Land, Sugaree, Me & My Uncle, Deal, Black Throated Wind, China Cat Sunflower-> I Know You Rider, Mexicali Blues, Bertha

Set II

Playin' In The Band, He's Gone, Jack Straw, Bird Song, Greatest Story Ever Told

Set III

Dark Star-> El Paso, Sing Me Back Home, Sugar Magnolia, Casey Jones, One More Saturday Night

Comment

Springfield Creamery benefit - "Field Trip" - not 08-28-72 - Other artist(s): NRPS

Sources

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SBD MR> DAT> CDR> EAC> SHN; via S. Kaplan, G. Hamilton; known flaws: sound system disortion/buzziness at places; d1t7 d/o @ 11:14; d2t6 discontinuity @ 3:36, static @ 5:07; note least-flawed of several versions assayed (no clicks/pops in Dark Star); 12/00 update: an upgrade version is now circulating

(2199) View Source

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SBD Master Betty reel > PCM > DAT > ZA2 > CD > EAC > SHN; Set 3 has unknown # of PCM gens; via Jeff Tiedrich (DAT seed), David Hollister (transfer> CD), G.S. Hamilton (EAC> SHN); see info file for comments; d3 tracked for 80 min; upgrade relative to previously etreed copy

(3328) View Source

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SBD-> two-track MR-> DAT-> Sonic Solutions-> CDR-> EAC-> Sound Forge Edit (analog pop removal using pencil tool)-> Sound Forge Pitch Shift (antialias filter followed by pitch shift of +19 cents); stemming from David Gans seed, via Adam Jerugim to Leigh Orf, who fixed up (see details in info file); d3 trackd for 80 min; note previous shn sets have been Betty Board sourced- this is not

(4682) View Source

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SBD> 16 Track Master Reels> [email protected]> DAT> DAT> WAV> SHN; see info file for details, fixes and flaw notes; note most banter edited out; Reel>DAT transfer by Dick Latvala; DAT clone supplied by Rob Eaton; DAT>SHN by Jamie Lutch; QC courtesy dankseeds

(8045) View Source

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SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM> (PCM) > D > SSSB; via Jay Serafin to gdlive; see info file for extensive notes

(16582) View Source

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SBD> 16 Track Master Reels> [email protected]> DAT> DAT> WAV> SHN; Banter between songs from the two-track master reels: S:MR> DAT> SS> CD> EAC> SHN; dankseed

(21619) View Source

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Bertha Remaster of the Braverman/Dank 16 track source. SBD>>MR>>DAT>>SS>>CDA>>EAC>>SHN>>DAW(Bertha)>>CDA/SHN - Sound A (Between songs from the two-track master reels)

User (active/rating)	Media / #	Show	Sound	Details	DB Source	User Source
John (1/4.9)	CD-R / 3			View		soundboard.
Matt Vernon (1/4.8)	SHN / 3	A	A	View	2199
Notes:	Great Dark Star and Playing in the Band (with Donna screams unfortunately at start and end). Good versions of China->Rider for Jerry guitar licks.
Matt Vernon (1/4.8)	SHN / 3	A	A	View	3328
Notes:	Note: This is the "Orf" version, not the Betty Board source which has circulated before. This source came from a different two-track master reel (made by the folks filming the Sunshine Daydream movie) and is mixed differently. It sounds better than the Betty Board. A definite must have IMO. Solid show with no off songs in any of the sets. Plyin, Bird Song and Dark Star are contenders for best ever versions. Holds up over time with repeat listens.
Matt Vernon (1/4.8)	SHN / 3	A+	A	View	4682
Notes:	This is the latest version - from 16 track master reels. Between song banter removed in most places.
Matt Vernon (1/4.8)	SHN / 3	A	A	View	16582
Notes:	dank source w/ banter via Braverman [2006-04-02] Holds up as a show with some outstanding tunes and sound quality. The Bird Song, C>R, PITB and Star are worthy
Matt Vernon (1/4.8)	SHN / 3			View	21619
Notes:	Bertha remaster of the Braverman/Dank source
Matt Vernon (1/4.8)	DVD / 1			View
Notes:	[b][size=5][color=blue]Grateful Dead[/color] [color=red]Sunshine Daydream[/color] Canis Major Productions[/size] The Legendary (yet still unreleased) Concert Film by John Norris, Sam Field, and Phil DeGuere Recorded 8/27/72 at the Old Renaissance Fairgrounds, Veneta OR [img]http://web1.nugs.net/attics/images/ssdd1.jpg[/img] [quote=Sam Field]The Grateful Dead had recently returned from a triumphal tour of Europe (’72) where the filmmakers purchased the then state of the art miniaturized equipment, a Swiss made Stellavox field recorder and an Éclair ACL 16mm camera. The plot was to develop a signature visual style of representing the band: a camera for each of the 16 channels (at least!) emphasizing the visual kinetics of the music making itself as well as the enormous open communication within the band. The first agreed upon project was to put together a thirty-minute replacement for the KQED tape the band had been using for promotion on tour. Pigpen had just retired from the road and Mickey was in self-imposed exile. Keith and Donna had just joined the band. The band was on a roll and in tight formation. The Alembic PA was churning out the ripest, highest amplitude primary colors ever hallucinated. Some say it was our apogee. Suddenly Chuck Kesey was camped out at the crossroads of the Grateful Dead office, obstructing all traffic until he got an answer: Would the band play a benefit for the Springfield Creamery? Fred, the Kesey paterfamilias, had passed away leaving an indebtedness to the Federal Milk Fund or some such, and Chuck and Sue were just tooling up the Nancy’s yogurt enterprise and they were in danger of losing the family farm and the Dead said yes. Sam Cutler called the filmmakers and suggested they join forces with Far West Action Picture Services, the then incarnation of the Pranksters film-making adventures. This was a much greater first project than originally contemplated, however, the filmmakers acceded with alacrity. Ron Wickersham of Alembic agreed to record in 16-track and to devise a method whereby all the different cameras could each find sync with the recording. From the get-go the benefit was a charmed event, emblematic of everything our tribe aspired to. In the meadow that was to become the home of the Oregon Country Fair, hippies pulled together, built a stage and threw themselves a party to celebrate and help out a neighbor, The Springfield Creamery. Perhaps the only bewildered guy on the scene was the straight piano tuner who brought Keith’s piano. On the day of the show, the temperature would rise to 105 degrees, everyone would get dosed, nobody would get hurt and the band would soldier through into territories seldom visited. The heat washed away any preconceptions and when the Sun stole the music, Jerry would fight back and haul it in, onto his frets again. The band played heroically. We were all suitably scrambled. Film magazines didn’t come fast enough because the changers had melted or become distracted, cameramen went off into enchanted but unintelligible directions of wobble and warp. By the time Jack Straw rolled around the earthquakes had slowed down and the camerawork improved. Much of the warpedness was considered unacceptable at the time but today it lends a certain authenticity. We didn’t, by any means, shoot every song. We shot what we thought would be good candidates for the thirty minute project. The band delivered a stellar thirty-minute (exactly!) Dark Star that would have made a fabulous if enigmatic release at the same time Watergate was breaking. That project was hijacked by the notion that what we had was far more than a few precious stones; we had an ornament. It’s taken over thirty years for the half-life of that notion to become true. In the intervening years the film spent most of its life in the pump house of the producer, Sam Field. A couple of years ago, at the behest of Dennis McNally who wanted to screen it in conjunction with the release of his book, we brought it up to date, digitizing and adding two new songs to the original cut: a wonderfully emotive Bird Song and a twilight Sing Me Back Home that, because of it’s fading images, can’t help but move you. Most of the rest of the film is as it was the day it was set aside including the animation sequences in Dark Star which, due to lack of band footage, were patched in pretty much willy-nilly from old work print provided by Dennis Pohl, a New York filmmaker. We had intended he would create original, syncopated work for the final film. There are still a few more miles to go, fine tuning the edit, remixing the sound, before we get to the final technical hurdle, conforming 1972 technology to current DVD standards, but with patience and perseverance this may someday, be available to all. [/quote] [b]Please Note: ** these comments do not refer to this version of the film, which is a painstakingly digitized remastering of a 2nd-gen. VHS (off the master), spliced with state of the art audio remastering of original reels. Despite perennial rumors of an official release, the film remains unavailable to the public outside a handful of screenings at small film festivals. Though rough in spots, this baby is a real collector's item that any Deadhead should not be without. Possibly the best Dark Star ever played.[/b] Enjoy!
Matt Vernon (1/4.8)	DVD5 / 2			View
Notes:	Grateful Dead 8-27-1972 Old Renaissance Faire Grounds Veneta OR (Benefit for Springfield Creamery) DVD 1 Creamery Skit (not included on previous version) Prankster clips - Acid tests Setting up - Playin in the Band (background music) Water and the Heat Promised Land Crisis China Cat Sunflower >> I Know You Rider ...what ever happened to the truck that was going to spray the crowd Jack Straw DVD 2 Oregon Insanity (Please help us Jerry and Bob) Dark Star >> El Paso ...and no one was hurt Endings - Greatest Story in the background Different angle of China Cat Sunflower >> I Know You Rider (not included on previous version) -------------------------------------------------------- Concert film by John Norris, Sam Field, and Phil DeGuere Loosely shot, this 100-minute film captures an incredibly youthful Grateful Dead playing outdoors at a creamery benefit in Veneta, Oregon. Video Unknown Standalone source > DVD Decrypter > Sony Vega 7.0 (original bitrate was 9600 with AC3 audio) rendered to 8400 bitrate to allow for audio upgrade. Per Awolfeoutwest about the re-encoding "And, I have to say, even though I am a stickler when it comes to re-encoding MPEG2, that the Bertha audio in your version makes it the better version in my opinion. The added softness in the re-encoded video is not at all apparent, but the sound upgrade is striking and crucial. In a blind "taste" test, I would choose your resync in a heartbeat. Very nice!" My own views are that the original AC3 audio was a bit over-recorded - when comparing side by side - the Bertha is much fuller, better stereo seperation and just sounds better at higher volumes. Audio: Bertha Remaster of the Braverman/Dank 16 track source. (shnid 21619) SBD>>MR>>DAT>>SS>>CDA>>EAC>>SHN>>DAW(Bertha)>>CDA/SHN - Sound A (Between songs from the two-track master reels) Digitally remastered using a custom built, Dual-DAW, nicknamed Bertha, by [email protected] on January 4, 2004. Thanks to Peter Braverman for his fine work. From the Braverman text file and prior to Bertha Remastering: Source: SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN DAT>WAV via Sony SDT-9000 DDS drive using VDAT 0.6f WAV was edited in Soundforge 4.0 (crossfading of reel cuts between songs, no music was disturbed except for Sugar Magnolia) WAV>SHN via CDWAV 1.53>MKW 0.97b Notes -Video assets courtesy of Lone Star Dead. -SBD audio courtesy of the Wheel -Audio synchronization by Kevin Tobin using Adobe Audition to compress/expand the audio in multitrack mode to match the original audio. -Multiplexing via TMPGEnc MPEG Editor by Kevin Tobin. -DVD authoring via DVD Architect 3 by Kevin Tobin. -MD5 checksums files are now being placed in the disk folders to support multiplatform use. Please remove before burning VOB files to dvd disk. - I did not add any extra footage like I did on my first update (namely the last 2 minutes of Playin' In The Band) - the original video is all I used. Audio\Video Flaws: 1) For first 4 minutes 50.839 seconds of video used the video soundtrack as no matching soundtrack is available. 2) All vocals\talking during the Playin in the Band segment were mixed in from the video soundtrack. 3) Between Playin and Promised Land, video soundtrack was used as no matching audio from soundboard. 4) Between Promised Land and China Cat Sunflower, video soundtrack was used as no matching audio from soundboard. 5) Between I Know You Rider and Jack Straw, video soundtrack was used as no matching audio from soundboard. 6) Between Jack Straw and Dark Star, video soundtrack was used as no matching audio from soundboard. 7) Between El Paso and Greatest Story, video soundtrack was used as no matching audio from soundboard. Video Attribute : Video compression mode : MPEG-2 TV system : 525/60 (NTSC) Aspect Ratio : 4:3 Display Mode : reserved Source picture resolution : 720x480 (525/60) Frame Rate : 29.97 Source picture letterboxed : Not letterboxed Bitrate : Disk 1 8.400 Mbps Disk 2 8.400 Mbps Menu : Yes (song list on separate menu) Audio Attribute : Number of Audio channels : 2 Number of Audio streams : 1 Audio Coding mode: Linear PCM audio Sampling Rate : 48kHz 1536Kbps Brokedown House Productions Do NOT Buy or Sell this video
Matt Vernon (1/4.8)	FLAC / 4	x	x	View	8045
Notes:	SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM> (PCM) > D > SSSB; via Jay Serafin to gdlive; see info file for extensive notes
Matt Vernon (1/4.8)	SHN / 3	x	x	View	152
Notes:	SBD MR> DAT> CDR> EAC> SHN; via S. Kaplan, G. Hamilton; known flaws: sound system disortion/buzziness at places; d1t7 d/o @ 11:14; d2t6 discontinuity @ 3:36, static @ 5:07; note least-flawed of several versions assayed (no clicks/pops in Dark Star); 12/00 update: an upgrade version is now circulating
Matt Vernon (1/4.8)	DVD9 / 1			View
Notes:	Grateful Dead 8-27-1972 Old Renaissance Faire Grounds Veneta OR (Benefit for Springfield Creamery) DVD Creamery Skit (not included on previous version) Prankster clips - Acid tests Setting up - Playin in the Band (background music) Water and the Heat Promised Land Crisis China Cat Sunflower >> I Know You Rider ...what ever happened to the truck that was going to spray the crowd Jack Straw Oregon Insanity (Please help us Jerry and Bob) Dark Star >> El Paso ...and no one was hurt Endings - Greatest Story in the background Different angle of China Cat Sunflower >> I Know You Rider (not included on previous version) -------------------------------------------------------- Concert film by John Norris, Sam Field, and Phil DeGuere Loosely shot, this 100-minute film captures an incredibly youthful Grateful Dead playing outdoors at a creamery benefit in Veneta, Oregon. The following text is from http://www.sfherald.com/columnists/...apozzola08.html "In sitting down to watch 'Sunshine Daydream,' one gets a sense of revisiting history. Because this was an era of unprecedented accessibility, the Canis Major crew were able to station their cameras squarely on the wings of the stage, mere feet from the band. The resulting footage allows the viewer to stand almost shoulder-to-shoulder with a very young Bob Weir, age 25, strumming a cherry-red hollow-body guitar; a bushy-haired Phil Lesh, dressed more like a surfer than a bassist, and belting unexpected harmony vocals; a fuzzily bearded Garcia, age 30, smiling, not a gray hair in sight; and, a tough-looking Bill Kreutzman, sitting squatly on his drum stool, chewing gum and wearing a railroad conductor's cap. Where most Dead fans only witnessed these musicians 20 years later, and from the remote mezzanine deck of a Checkerdome-Enormodome-Superstadium, here suddenly is Garcia's boot tapping on a rusty foot pedal, Phil Lesh leaping in front of Kreutzman during a jazzy drums and bass solo, and Bob Weir stepping timidly to the microphone after a long, haunting jam. One can only speculate on just how psychedelically engaged Norris, Field, and DeGuere (along with third cameraman Lou Melson, and soundman Charlie Barreca) were as they recordeded the day's proceedings. The concert itself was organized by Ken Kesey and the Merry Pranksters, which helped to ensure a day of genuine acid craziness. But shot with synchronized, handheld cameras, the Canis Major team succeeded in capturing both the blissful playing of the musicians and the general ecstasy of the audience. The camera eye becomes almost a running commentary of the respective filmmakers' interior monologues. A close-up of Garcia's leather boot stepping on a wah-wah pedal jumps suddenly to a Christ-like figure perched precariously on a wooden pole above the stage. The camera tracks the fellow as he dances rabidly above the music, then cuts to two women walking a child behind the stage. A dog runs past them. Suddenly the music changes gears and the camera swings back to the stage, to blonde-haired Phil Lesh at the precise moment he strums a booming chord on his bass. And then the other camera takes over, offering Bob Weir baring his teeth and straining to sing a high note as he chops harsh chords on his guitar. Weir falls backward as Garcia begins to solo and the camera suddenly jumps again to a topless girl dancing nearby in the tall grass. Such chaotic filming succeeds precisely because of its extemporaneous nature. Almost accidentally, it captures the day's events in whirlwind fashion, fortuitously recording all the peripheral "noise" of the festival. In editing the film, DeGuere, Norris, and Field wisely provided some breathing room, interspersing performance clips with vintage moments of Kesey and the Pranksters. Additional background footage delivers candid shots of the festival's organizers as they try to cope with a water shortage amidst the day's 100-degree heat. The camera pans to crowds of men and women sharing plastic jugs of water. Overdubbed walkie-talkie chatter reveals the stage crew trying to bring in a fire truck to hose down the crowd. In true Deadhead spirit, the film preserves an event that seem awfully remote in today's world of cable TV, Internet ticketing, and heavily policed gatherings. Early in the movie, an eager crew can be seen building a simple wooden stage. No cops, no security force trolling the grounds. No bags being searched, no one ejected for cigarette smoking. What one witnesses as the movie gets underway is 30,000 folks raving about in a big, sunny meadow while the local band plays on a hastily erected platform. Two flinty piles of amplifiers broadcast loud rock 'n roll out to the countryside. Amidst such casual planning, it seems forgivable that the festival's organizers forgot to incorporate stage lights. Providentially, this lack of concert lighting works to stunning effect later in the film. As the sun sets, and a cool breeze settles on the day's revelry, Garcia can be faintly seen crooning the plaintive "Sing Me Back Home," a mere silhouette of dark hair and beard against the gathering dusk. Such a pastoral scene, of dogs and babies and children eating ice cream, hearkens back to a bygone era. 'Sunshine Daydream' never lectures, though, never complains that such days have passed. But in its quick cuts to footage of the Merry Pranksters, and their 1964 bus slogan "A vote for Barry [Goldwater] is a vote for fun," one sees the timeless political viability of street theater. And cutting back to the Dead in blazing performance, one is reminded that the most essential American liberty is freedom of expression." --------------------------------------------------------------- Video Unknown Standalone source Audio: Bertha Remaster of the Braverman/Dank 16 track source. SBD>>MR>>DAT>>SS>>CDA>>EAC>>SHN>>DAW(Bertha)>>CDA/SHN - Sound A (Between songs from the two-track master reels) Digitally remastered using a custom built, Dual-DAW, nicknamed Bertha, by [email protected] on January 4, 2004. Thanks to Peter Braverman for his fine work. From the Braverman text file and prior to Bertha Remastering: Source: SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN DAT>WAV via Sony SDT-9000 DDS drive using VDAT 0.6f WAV was edited in Soundforge 4.0 (crossfading of reel cuts between songs, no music was disturbed except for Sugar Magnolia) WAV>SHN via CDWAV 1.53>MKW 0.97b Notes -Video assets courtesy of Lonestardead. -SBD audio courtesy of the Wheel -Audio synchronization by Kevin Tobin using Adobe Audition to compress/expand the audio in multitrack mode to match the original audio. -Multiplexing via TMPGEnc MPEG Editor by Kevin Tobin. -DVD authoring via DVD Architect 3 by Kevin Tobin. -Video recording requires 1 DVD9 so as to not break up the show. Audio\Video Flaws: 1) First 4 minutes 50.839 seconds of video used the video soundtrack as no matching soundtrack is available. 2) All vocals\talking during the Playin in the Band segment were mixed in from the video soundtrack. 3) Between Playin and Promised Land, video soundtrack was used as no matching audio from soundboard. 4) Between Promised Land and China Cat Sunflower, video soundtrack was used as no matching audio from soundboard. 5) Between I Know You Rider and Jack Straw, video soundtrack was used as no matching audio from soundboard. 6) Between Jack Straw and Dark Star, video soundtrack was used as no matching audio from soundboard. 7) Between El Paso and Greatest Story, video soundtrack was used as no matching audio from soundboard. Video Attribute : Video compression mode : MPEG-2 TV system : 525/60 (NTSC) Aspect Ratio : 4:3 Display Mode : reserved Source picture resolution : 720x480 (525/60) Frame Rate : 29.97 Source picture letterboxed : Not letterboxed Bitrate : Disk 1 8.400 Mbps DVD9 Menu : Yes (song list on separate menu) Audio Attribute : Number of Audio channels : 2 Number of Audio streams : 1 Audio Coding mode: Linear PCM audio Sampling Rate : 48kHz 1536Kbps Brokedown House Productions Do NOT Buy or Sell this video Per source's request ... please do Not torrent or ftp this video
SpiralLightofVenus (1/5)	FLAC / 0		SBD	View	21619
Notes:	SBD TB4
SpiralLightofVenus (1/5)	DVD / 0		SBD	View
Notes:	SBD VID TB3
SpiralLightofVenus (1/5)	FLAC / 0		SBD	View
Notes:	SBD TB6 (OFFICIAL RELEASE)
SpiralLightofVenus (1/5)	FLAC / 0		SBD	View
Notes:	SBD TB11
Matt Casteel (1/0)	/ 0			View	3328
Mark Diamond (1/3)	/ 5			View
gone (1/4.9)	CDR / 3	--	A	View
Notes:	Outdoor show. Good recording.
gone (1/4.9)	dvd / 2			View
GratefulBrad (1/5)	cdr / 3	A	B	View	152	SBD MR > DAT > CDR > EAC > SHN
Notes:	Full Show
oldsk8r1962 (1/5)	FLAC / 3		A	View		SBD > 16 track Master Reels > [email protected] > DAT > DAT > WAV > SHN > TLH > FLAC
Peterphan (1/0)	CD/FLAC16 / 3			View		SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN
winterland121072 (1/0)	/ 0			View	21619
winterland121072 (1/0)	/ 0			View	16582
winterland121072 (1/0)	/ 0			View	3328
winterland121072 (1/0)	/ 0			View	2199
winterland121072 (1/0)	/ 0			View	4682
winterland121072 (1/0)	/ 0			View	152
winterland121072 (1/0)	/ 0			View	8045
Cosmic Bob (1/5)	CD / 4			View

User (active/rating)

Media / #

Show

Sound

Details

DB Source

User Source

John (1/4.9)

CD-R / 3


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