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Grateful Dead 08/27/72
Old Renaissance Faire Grounds, Veneta, OR
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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
Last Changed By System
Sources
(152) View Source    View Archive
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    View Archive
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    View Archive
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    View Archive
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    View Archive
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    View Archive
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    View Archive
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)
Click 'Edit Show' or the 'Set I(II)(III)' or 'Comment' text to make corrections.
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User (active/rating) Media / # Show Sound Details DB Source User Source
thecat18 (1/5) SBD / 3 A A View 8045
Phil (1/5) CD/R / 3 A A View  
Notes: The "Springfield Creamery Benefit"
Phil (1/5) DVD / 1 View  
Notes: Proshot, Sunshine Daydream Film w/ Bertha sound...
magilla (1/5) CDR / 3 A View   SBD
Notes: Considered by many to be the ultimate Dead show!
magilla (1/5) VHS / 1 A View   Proshot
Notes: Sunshine Daydream film proshot, well sort of, purportedly by the Merry Pranksters. Begins with some great trippy black and white footage of a 1966 Acid Test and goes into the Springfield Creamery Benefit Conert Documentary of the 8/27/72 Veneta, OR show. All of the 8/27/72 show footage is in color and is of nice quality. Lots of crowd shots as well as the band playing this famous show. Runs about an hour, maybe a little more, so it obviously only contains part of the show. Oregon hippies at their finest!!
Dave Davidson (1/0) cdr / 3 View  
Scott Shaw (1/5) shn cd / 2 A+ A- View 8045 SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM> (PCM) > D > SSSB
Notes: I already repaired all SBE's on these shns. 4 aud cds.
Scott Shaw (1/5) flac cd / 2 A+ TBA View 16582 SBD > 16-Track MR > DAT (3) > WAV > SHN > DAT > WAV > SHN > WAV > SBE...
Notes: 3 aud cd. Fixed & FLACed version.
Chachi420 (1/5) DVD / 1 View   Video Source: 2nd Gen. VHS of original captured at 6000 bits/second. Audio: 16 track...
Notes: Disc Index - 1. Prankster clips - Acid tests 2. Setup Scene - Playin in the Band (background music) 3. Water and Heat 4. Promised Land 5. "Conserve Water" 6. China Cat Sunflower > 7. I Know You Rider 8. "The Sunstroke Serenaders" 9. Jack Straw 10. Oregon Insanity 11. Dark Star 12. El Paso 13. Greatest Story 14. Credits
China_Rider88 (1/0) CDR / 3 A View 2199 SBD
hipkosh (1/2) CDR / 3 View 3328 SBD>two-track master MR>DAT>Sonic Solutions>CDR>EAC>soundforge...
Eric Horton (1/5) SHN / 2 View 3328
Notes: Grateful Dead 08/27/72 Old Renaissance Fairground, Veneta OR Lineage: 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) David Gans seeded the show (SBD->MR->DAT->Sonic Solutions->CDR). Adam Jerugim obtained a CDR copy, EAC'd and uploaded it to orf.cx. Leigh Orf did all the post-processing (Sound Forge stuff). Note: This is *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.
Eric Horton (1/5) DVD / 1 View  
Notes: 08/27/72 Old Renaissance Faire Grounds Veneta, OR Set 1 Promised Land, Sugaree, Me & My Uncle, Deal, Black Throated Wind, China Cat Sunflower-> I Know You Rider, Mexicali Blues, Bertha Set 2 Playin' In The Band, He's Gone, Jack Straw, Bird Song, Greatest Story Ever Told Set 3 Dark Star-> El Paso, Sing Me Back Home, Sugar Magnolia, Casey Jones, One More Saturday Night The DVD is fairly grainy, but it was acquired from a reliable source as the best currently available. Sound is excellent.
Dene Wright (1/5) CD / 3 View   Betty board
Notes: All
Patrick (1/3.7) CDR / 3 A- View  
Randy (1/0) SHN / 2 View 8045
Randy (1/0) SHN / 2 View 3328
Randy (1/0) SHN / 2 View 2199
Minor Hibbs (1/5) CDR / 3 View  
Brian Hedden (1/0) / 3 A+ View   Soundboard
MattMan_Video (1/5) DVD / 1 A View 21619 Sunshine Daydream Film > ? > MPEG-2
Notes: Film by John Norris, Sam Field, and Phil DeGuere. *Audio upgrade with Bertha remaster by Kevin Tobin.!!*
Dana L (1/0) cdr / 3 View   Master Betty Board Reel>PCM>ZAZ>CD>EAC>SHN>CD
Notes: set 3 has unknown # of PCM gens.
Craig Hurwitz (1/5) cdr / 3 View  
Jeff (1/5) SHN / 2 View 8045 SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM > D > SSSB
Notes: GRATEFUL DEAD "The Springfield Creamery Benefit" Old Renaissance Fairgrounds Veneta, OR I / II / III LINEAGE SET I / II: SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM > D > SSSB LINEAGE SET III: SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM > PCM > D > SSSB SSSB Audio Rating: AR-2 LINEAGE: SBD > 4-track RTR > PCM via analog inputs > (Set III only: extra PCM conversion using analog inputs) > D > SSSB; other artist(s): NRPS; billed as "The Springfield Creamery Benefit"; "Casey Jones", "One More Saturday Night" are not encores, simply the end of the show (some databases state these 3 songs "may be encores"); any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction, jitter elimination, and +/-2 dB max. EQ were performed using 100% digital-only processing (32-bit/196 kHz data stream) at Serafin Station Studio B [this show was released in 10/01] JAY'S PERSONAL COMMENTS: I have to say this was probably one of the most difficult shows I ever had to work on... EVER! Many reasons for this are able to be disclosed (which they will be), but some are verified confidential information which came from my Marin County source who sent me the best possible masters for this show. Set I and II: Due to the tape reels being plastic, rather than the usual metal type, when the tapes were archived to PCM, there were static problems which occurred due to the ambient electrical charges which occur when tape reels are fast forwarded and fast rewound to "loosen up" the tape. The static discharged through the tape layers, rather than through the metal reels, so the audio wound up becoming filled with little "pops, ticks, and crackles" throughout a lot of the layers of tape. To eliminate these very annoying (and very audible!) noises, I had to MANUALLY do and edit them out. Close to 3,000 total edits were performed for Set I and almost 2,500 edits for this same problem for Set II. This is why it took close to 8 weeks of work to get this show completed. Of course, I was working on other shows as well, but 90% of the time spent on this wonderful show was on literally looking at every second of audio, scrolling slowly forward, to find these problems. It would have been "nicer" if the static pops were almost identical in their waveform, as I could have had the editing software find them for me, and I would just edit them out. But, they varied to much in the way they appeared in the audio, that there was no "automatic" way to find these little buggers. I spent close to 120 hours on finding these items, but then I was done, I only had to "eliminate" less than 45 total seconds from the entire show, due to my not being able to correct the static noise by simply removing the offending part of the sample (each static "pop" was approximately 0.00025 seconds in length, so just eliminating the deformed part of the waveform too very little time away from the entire show), but having to eliminate an entire sample or part of a waveform (about 0.001 seconds in length). But the elimination of these annoying parts did not affect the way the end result audio sounds. There's no "stuttering" or noticeable missing audio. By performing the editing the way I did, it eliminated all of this "unwanted perverting" of the audio. There are only a few very minor pops left, which could not be eliminated without affecting the audio as a whole, so I simply lowered the volume of the offending noise, so it's just barely perceptible. With the usual amount of original RTR analog tape hiss from the decks being used at the slow speed, plus the analog transfer of the RTR > PCM (they did not do it in the digital domain for reasons I cannot divulge here), there was a fair amount of hiss throughout Sets I and II. I was able to reduce the amount by more than 85%, but there is still a very slight amount of hiss left, which is only noticeable during the between-song lulls, tunings, and the stage announcement, and ONLY if you have your audio cranked up REALLY HIGH! The amount of hiss I was able to remove, without affecting the audio, was so "massive", there were parts of the between song lulls where the band members were talking amongst themselves, etc., and that could not be heard at all, due to the original hiss. Now, you are able to hear EVERYTHING that was originally fed into the RTR decks! Set III: This came from a totally different set of archive tapes, which had more underlying hiss to them (due to the extra PCM transfer in the lineage), but the overall audio was better them most of the versions out there. So, even more noise reduction using different techniques, was used, and the result was close (and to a slight degree, even better than the Set I/II reduction!). There was a point, beginning with "Sing Me Back Home", where you could hear that someone did some adjustment to the RTR deck, and this hiss rose dramatically from that point to the end of the show. So, not only was I faced with a "different" type of hiss, I had to now "match" the EQ curve of the audio to anything prior to that song! It was a lot of work, but it was also a lot of fun, as this was one of my most challenging releases of a show I had ever attempted. Overall, there is a LOT more total show audio than in almost all of the versions in circulation. Close to 10 minutes of "additional material" is in this release. To perform all of the special static noise, I had to revert to converting the show from it's usual 16-bit/48.0 kHz data rate to the highest rates my software, sound card, and digital mixer can handle, which is 32-bit / 192 kHz sampling rate! This is better than DVD's audio, which is 24-bit/96 kHz sampling. But I needed to see more of the waveform, and to be able to manipulate the waveforms in such a precise manner. When I "down-converted" the audio to the standard for CD's, which is 16-bit / 44.1 kHz, I was able to move the quantization noise up into the 20 kHz range, which is well past the point if human hearing. Also, since this show contained very little in the way of high levels of audio above 14 kHz, it did not affect the "harmonics" and the subtle nuances which a lot of people would hear up in the 18-20 kHz audio range with a lot of music. So, everyone will hear all of the audio just as is was recorded onto the RTR decks, only with a much cleaner sound. I had to perform very little in the way of "trimming" of the show's audio for the reel flips and the PCM tape changes. From my editing notes, I was able to remove just under 50 total seconds of total show audio to perform the necessary crossfades. This is the best I could do with the masters I received, and I hope that everyone is happy with the results. I certainly was, and I am never totally happy with my "final release" versions of any show I've ever worked on! Uploaded exclusively to GDLive.com by: John "Jay" Serafin, owner/audio engineer @ Serafin Station Studio B "Making Kindness Dubs For Everyone!" No Profits Or Copyright Infringements EVER! Web Info: http://members.home.com/kinddubs E-Mail: [email protected]
Jeff (1/5) DVD / 1 View   2nd gen vhs + bertha source audio
Notes: DV14 Grateful Dead 8-27-1972 Old Renaissance Faire Grounds Veneta, OR Benefit for Springfield Creamery DVD/VCD1 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 VCD2 Oregon Insanity (Please help us Jerry and Bob) Dark Star >> El Paso ...and no one was hurt Endings - Greatest Story (background) 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." Source Video Capture was performed by Dan Blank using Joe Estades vhs tape (2nd generation vhs of original). 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 Note: After capturing the video, the audience soundtrack (from the video) was exported and then loaded into Adobe Audition along with a copy of the sbd audio. Then, an unique note at approximately 1 minute intervals on the video soundtrack was found and matched to the same note from the sbd. Some modification (ie stretching or shrinking) to the length of these segment was required in order for the sbd to flawlessly match the captured video. The original video audience track was then muted and the sbd tracks imported as background music prior to creating the master dvd. The video was captured at 720x480 resolution (DVD) at 6000bits\sec to create the original mpeg2 file. After the sound was imported and the dvd burned, the mpeg2 file was rendered to 352x240 to make VCD disks. Takes either (1) dvds or (2) vcds. Audio\Video Flaws: 1) First 2 minutes 58 seconds of video used the video soundtrack as no matching soundtrack is available. 2) Some vocals\talking during the Playin in the Band segment were mixed in from the video soundtrack. 3) The last 1 minutes and 38 seconds of Playin in the Band was added from the audio soundtrack to give a better flow. Video was filled in using clips from the movie slowed down by a factor of 3. 4) Between Playin and Promised Land, video soundtrack was used as no matching audio from soundboard. 5) Between Jack Straw and Dark Star, video soundtrack was used as no matching audio from soundboard. 6) About 23 minutes into Dark Star, 2.9 seconds were missing from the video - inserted transition with no loss of sound. 7) Between El Paso and Greatest Story, video soundtrack was used as no matching audio from soundboard. 8) No other flaws noted during show Brokedown House Productions Original vhs supplied by Joe Estades Video Capture and Conversion by Dan Blank Audio cds provide with thanks by Jay Ashley via /tol 'Bertha' remastering performed by Jay Ashley Audio SBD imported and synced by Kevin Tobin DVD layout and mastering performed by Kevin Tobin
Jeff (1/5) DVD / 1 View  
Notes: DV150 Sunshine Daydream version w/ menus
Jeff (1/5) FLAC / 2 View 16582 SBD>16 Track Master Reels>[email protected]
Notes: AT206 Original text: The newest and greatest version (ha), seeded 10/7/01. This seed combines the 16-track master reel (so-called "dank") source with the between-song banter that was edited out of it. The splices should be, with one or two exceptions, inaudible. Full text file to follow. pb ([email protected]) Banter between songs from the two-track master reels: S:MR> DAT> SS> CD> EAC> SHN Here's the dank text file: Grateful Dead August 27, 1972 Old Renaissance Faire Grounds Veneta, OR Benefit for Springfield Creamery Disc 1 47:55 -Set I- 1. Promised Land 03:06 2. Sugaree 07:13 3. Me & My Uncle 03:04 4. Deal 04:41 5. Black Throated Wind 06:31 6. China Cat Sunflower> 07:56 7. I Know You Rider 06:02 8. Mexicali Blues 03:35 9. Bertha 05:44 Disc 2 50:18 -Set II- 1. Playin 18:40 2. He's Gone 08:49 3. Jack Straw 04:59 4. Bird Song 12:19 5. Greatest Story 05:33 Disc 3 65:57 -Set III- 1. Dark Star> 31:26 2. El Paso 04:39 3. Sing Me Back Home 10:29 4. Sugar Magnolia 08:3 3 5. E1: Casey Jones 06:08 6. E2: Saturday Night 04:4 1 Source: SBD>16 Track Master Reels>[email protected]>DAT>DAT>WAV>SHN DAT>WAV via Sony SDT-9000 DDS drive using VDAT 0.6f (see error logs below) 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 The songs from the reels were originally edited down to DAT very tightly, almost no banter is present in this version. Known Flaws: the first few notes of Sugar Magnolia were missing and were patched in from the circulating Gans CD source. The following spots were edited using pencil tool in Soundforge (small bits of analog static removed): d1t1, 2:18 - left channel click - smoothed, still slightly audible d1t1, 2:20-2:23 - left channel static - smoothed, still slightly audible d1t06, 2:12 - pop - fixed d2t01, 14:28 - right channel crackle - fixed d2t05, 3:37 - right channel click - fixed d2t05, 4:13 right channel click - fixed d2t05, 04:18 - right channel static - smoothed, still audible d2t05, 04:45 - right channel static - fixed d2t05, 04:00-05:00 - some other static, smoothed, but still audible d2t05, 5:05 - right channel click- still slightly audible d3t01, 0:28 - two right channel clicks - fixed d3t01, 0:38 - right channel click - fixed d3t01, 8:06, 8:11 - right channel crackles - fixed d3t01, 26:29 - right channel click - fixed There are a few other minor analog anomalies that were left alone: d1t01, 2:02 click in right channel d1t01, 2:26 slight pop d1t07, 3:48 click d2t01, 6:00 faint click d2t04, 10:12 pop d2t05, 3:36 click d2t05, 3:42 click d3t01, 28:24 click d3t04, 5:10-7:50 intermittent analog buzzing in right channel There's probably some more to be found, however, all are quite minor Reel>DAT transfer by Dick Latvala DAT clone supplied by Rob Eaton, 6/2001 DAT>SHN by Jamie Lutch, 6/2001 ------------------------ DAT transfer error logs: ------------------------ each of the two source dats were extracted twice and compared using EAC's wav compare feature DAT1: wav 1: 117 missing samples 0:27:21.540 wav 2: 0:00:00.003 longer (wav 2 used for this shn archive, extraneous samples at 27:21.540 deleted, not audible) DAT2: wav 1: 363 missing samples 0:58:45.741 wav 2: 363 missing samples 0:30:15.591 (wav 1 used for this shn archive, questionable spot at 58:45 was checked, no audible errors exist) ----------------------- ____________________________________________________________________________ *Dankseed Certification received 01-07-03* and posted at http://groups.yahoo.com/group/dankseeds/files/gd72-08-27/ Listening test performed by *5* danksters positive criteria met: Tracking- OK Seamless and complete- OK Lineage listed- OK negative criteria met: DAE- NO Resampled- NO Diginoise- NO Shntool fix information: Grateful Dead August 27, 1972 Old Renaissance Faire Grounds Veneta, OR This source is etree shnid=16582. The original shorten files were converted to flac and all sector boundary errors were fixed using shntool. The fix was performed by uh_clem on December 10, 2004. Shntool output: length expanded size cdr WAVE problems filename 7:51.52 83206748 --- -- ---xx gd72-08-27d1t01-fixed.flac 9:17.62 98400668 --- -- ---xx gd72-08-27d1t02-fixed.flac 3:28.28 36757100 --- -- ---xx gd72-08-27d1t03-fixed.flac 4:41.10 49591964 --- -- ---xx gd72-08-27d1t04-fixed.flac 7:11.12 76056668 --- -- ---xx gd72-08-27d1t05-fixed.flac 7:56.30 84037004 --- -- ---xx gd72-08-27d1t06-fixed.flac 7:10.42 75950828 --- -- ---xx gd72-08-27d1t07-fixed.flac 3:46.03 39873500 --- -- ---xx gd72-08-27d1t08-fixed.flac 5:55.22 62673788 --- -- ---xx gd72-08-27d1t09-fixed.flac 21:05.19 223190732 --- -- ---xx gd72-08-27d2t01-fixed.flac 9:20.42 98882828 --- -- ---xx gd72-08-27d2t02-fixed.flac 5:06.19 54023132 --- -- ---xx gd72-08-27d2t03-fixed.flac 13:02.04 137954252 --- -- ---xx gd72-08-27d2t04-fixed.flac 5:30.11 58237916 --- -- ---xx gd72-08-27d2t05-fixed.flac 32:20.11 342241916 --- -- ---xx gd72-08-27d3t01-fixed.flac 4:41.48 49681340 --- -- ---xx gd72-08-27d3t02-fixed.flac 11:16.59 119385212 --- -- ---xx gd72-08-27d3t03-fixed.flac 10:45.64 113928572 --- -- ---xx gd72-08-27d3t04-fixed.flac 6:13.65 65950124 --- -- ---xx gd72-08-27d3t05-fixed.flac 11:49.66 125222876 --- -- ---xx gd72-08-27d3t06-fixed.flac 188:30.69 1902.82 MB (totals for 20 files, 0.4876 overall compression ratio) Shntool Output prior to fixing: length expanded size cdr WAVE problems filename 7:51.52 83206968 -b- -- ---xx gd72-08-27d1t01.shn 9:17.62 98400424 -b- -- ---xx gd72-08-27d1t02.shn 3:28.28 36757628 -b- -- ---xx gd72-08-27d1t03.shn 4:41.10 49591964 --- -- ---xx gd72-08-27d1t04.shn 7:11.11 76055236 -b- -- ---xx gd72-08-27d1t05.shn 7:56.30 84037004 --- -- ---xx gd72-08-27d1t06.shn 7:10.43 75952860 -b- -- ---xx gd72-08-27d1t07.shn 3:46.03 39872728 -b- -- ---xx gd72-08-27d1t08.shn 5:55.21 62672472 -b- -- ---xx gd72-08-27d1t09.shn 21:05.19 223189732 -b- -- ---xx gd72-08-27d2t01.shn 9:20.42 98883732 -b- -- ---xx gd72-08-27d2t02.shn 5:06.19 54024224 -b- -- ---xx gd72-08-27d2t03.shn 13:02.04 137953708 -b- -- ---xx gd72-08-27d2t04.shn 5:30.10 58236300 -b- -- ---xx gd72-08-27d2t05.shn 32:20.11 342242712 -b- -- ---xx gd72-08-27d3t01.shn 4:41.48 49681168 -b- -- ---xx gd72-08-27d3t02.shn 11:16.59 119384996 -b- -- ---xx gd72-08-27d3t03.shn 10:45.64 113927752 -b- -- ---xx gd72-08-27d3t04.shn 6:13.65 65950676 -b- -- ---xx gd72-08-27d3t05.shn 11:49.65 125220260 -b- -- ---xx gd72-08-27d3t06.shn 188:30.67 1902.81 MB (totals for 20 files, 0.5395 overall compression ratio) FLAC Fingerprint: gd72-08-27d1t01-fixed.flac:221c27f87011b52759190aa046bfb519 gd72-08-27d1t02-fixed.flac:14c235f9ea9381f3464c9b839ba3fc4b gd72-08-27d1t03-fixed.flac:482c69868a9375d428323e3c6b30514a gd72-08-27d1t04-fixed.flac:00fd14a2ac1291bb440957e0094c01b5 gd72-08-27d1t05-fixed.flac:14baecf833ca1caca850b0ccb0940e07 gd72-08-27d1t06-fixed.flac:d08b91dc2f3a1f05bad581f2cbe1d147 gd72-08-27d1t07-fixed.flac:1bda02881cccf9b03429733e4fcbad66 gd72-08-27d1t08-fixed.flac:f75ed519a54eb8327179e68de1a67190 gd72-08-27d1t09-fixed.flac:8007c851805526ab9d17746f7bf7f802 gd72-08-27d2t01-fixed.flac:020772987d06e146d7d08c4325b506fa gd72-08-27d2t02-fixed.flac:2dbbfcad80cdfea63212c410b548ecf1 gd72-08-27d2t03-fixed.flac:2e8951bae2576a92ceff7e8856163cbc gd72-08-27d2t04-fixed.flac:c9fb64b8c936f9902e9a9857cf6a5a2a gd72-08-27d2t05-fixed.flac:d0d8b149c036dedcfd2ff4849e40c6f9 gd72-08-27d3t01-fixed.flac:5ec0bc8b2ed3d8b0a42f87cd950ebda6 gd72-08-27d3t02-fixed.flac:592583fd53afc4baa68f585dd6880a25 gd72-08-27d3t03-fixed.flac:9acea94fd912bb42447762ff603825d5 gd72-08-27d3t04-fixed.flac:319cf2a6b57afd72f87539f4f3873ac5 gd72-08-27d3t05-fixed.flac:ae41f996d328b29539ddf04fd260906c gd72-08-27d3t06-fixed.flac:4e52c8b5e6d1f6ae1b047ba8895710f4 gd72-08-27d1t01-fixed.flac:221c27f87011b52759190aa046bfb519 gd72-08-27d1t02-fixed.flac:14c235f9ea9381f3464c9b839ba3fc4b gd72-08-27d1t03-fixed.flac:482c69868a9375d428323e3c6b30514a gd72-08-27d1t04-fixed.flac:00fd14a2ac1291bb440957e0094c01b5 gd72-08-27d1t05-fixed.flac:14baecf833ca1caca850b0ccb0940e07 gd72-08-27d1t06-fixed.flac:d08b91dc2f3a1f05bad581f2cbe1d147 gd72-08-27d1t07-fixed.flac:1bda02881cccf9b03429733e4fcbad66 gd72-08-27d1t08-fixed.flac:f75ed519a54eb8327179e68de1a67190 gd72-08-27d1t09-fixed.flac:8007c851805526ab9d17746f7bf7f802 gd72-08-27d2t01-fixed.flac:020772987d06e146d7d08c4325b506fa gd72-08-27d2t02-fixed.flac:2dbbfcad80cdfea63212c410b548ecf1 gd72-08-27d2t03-fixed.flac:2e8951bae2576a92ceff7e8856163cbc gd72-08-27d2t04-fixed.flac:c9fb64b8c936f9902e9a9857cf6a5a2a gd72-08-27d2t05-fixed.flac:d0d8b149c036dedcfd2ff4849e40c6f9 gd72-08-27d3t01-fixed.flac:5ec0bc8b2ed3d8b0a42f87cd950ebda6 gd72-08-27d3t02-fixed.flac:592583fd53afc4baa68f585dd6880a25 gd72-08-27d3t03-fixed.flac:9acea94fd912bb42447762ff603825d5 gd72-08-27d3t04-fixed.flac:319cf2a6b57afd72f87539f4f3873ac5 gd72-08-27d3t05-fixed.flac:ae41f996d328b29539ddf04fd260906c gd72-08-27d3t06-fixed.flac:4e52c8b5e6d1f6ae1b047ba8895710f4 Size: 927 MB
Jeff (1/5) DVD / 2 View   see notes
Notes: DV634,635 gd72-08-27.bhp-new.dvdf 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. 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 > 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 Size: 6.70 GB
telephish (1/0) DVD / 2 View  
spcwrnglr (1/5) CDR / 3 View   MR>DR>DAT>CDR