Grateful Dead 04/28/1971

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MSR > (Reel post-Bird Song) >Alesis Masterlink> CD-R; via Bob Murphy; see details in info file; see Bill Gadsden's detailed commentary in pub comments for 4/29/71; note 4 CD best-of-run is available from the Dead

(4332) View Source

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MR> R> CDR and MR> CDR; includes NRPS; see info file for listening notes; tracked out same as previous shn set (likely same source), but md5s differ; via vine?

(11257) View Source

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Complete; Previous splices patched with 'official release' material; See info file for details; Truckin'through Bird Song 02:07.38: MSR>Reel>Alesis Masterlink>CDR; Bird Song 02:08.70 through end of show: MSR 7 inch (7.5 ips) Revox A 77> Alesis Masterlink> CDR (previous splices patched via multi- track sources as noted below); Seeded to etree by Seth D Kaplan and Alan J Fink

(32862) View Source

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MR>R>CDR and MR>CDR with alt. SBD patches; Refined, patched, re-tracked and SHN'ed by Chris Frisco.

(102859) View Source

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flac24; SBD MR>R@ 7 1/2 ips. Tape stock:Maxell UD35-7 tape. Transfer info:Akai GX636>Apogee Mini Me @24bit/96kHz > Apogee mini DAC(monitoring/mastering) > Lynx One Audio Card > Wavelab 5.0 > FLAC. Edited on the GEMS Edit Station by Jamie Waddell. Pow-r3 Dither in Weiss-Saracon FLAC Level 8 in Trader's Lil Helper Meta-Data with Tag&ReName

(106099) View Source

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flac16; Recording Info: SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips); Transfer Info: Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k) Mastering Info: WAV -> Samplitude Professional v11.03 -> FLAC/16; All Mastering By Charlie Miller

(106100) View Source

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flac24; Recording Info: SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips); Transfer Info: Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k); Mastering Info: WAV -> Samplitude Professional v11.03 -> FLAC/24; All Mastering By Charlie Miller

(114029) View Source

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flac16; Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0(dithered to 16/44 via 'UV22HR' Apogee algorithim > CD FLAC; Transfered and mastered by Matt Smith

(114088) View Source

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flac24; Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Transfer info:Akai GX636 > Apogee Mini Me @24/96>Mini DAC(monitoring/mastering)>Lynx One soundcard>Wavelab 5.0 > FLAC 24 bit; Transfered and mastered by Matt Smith 6/11

(126262) View Source

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flac16; Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Truckin thru Bird Song is from a second gen reel. Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC; Transfered and mastered by Matt Smith

User (active/rating)	Media / #	Show	Sound	Details	DB Source	User Source
Marc Deardorff (1/5)	shn / 3			View	11257
Notes:	Complete; Previous splices patched with 'official release' material; See info file for details; Truckin'through Bird Song 02:07.38: MSR>Reel>Alesis Masterlink>CDR; Bird Song 02:08.70 through end of show: MSR 7 inch (7.5 ips) Revox A 77> Alesis Masterlink> CDR (
Marc Deardorff (1/5)	shn / 2			View	32862
Notes:	MR>R>CDR and MR>CDR with alt. SBD patches; Refined, patched, re-tracked and SHN'ed by Chris Frisco.
Marc Deardorff (1/5)	flac24 / 6			View	102859
Notes:	flac24; SBD MR>R@ 7 1/2 ips. Tape stock:Maxell UD35-7 tape. Transfer info:Akai GX636>Apogee Mini Me @24bit/96kHz > Apogee mini DAC(monitoring/mastering) > Lynx One Audio Card > Wavelab 5.0 > FLAC. Edited on the GEMS Edit Station by Jamie Waddell. Pow-r3 Dither in Weiss-Saracon FLAC Level 8 in Trader's Lil Helper Meta-Data with Tag&ReName
phil (1/5)	flac / 0		a	View	106099	sbd>flac
Notes:	charlie miller 2010
Jim O'Brien (1/4.9)	CD / 4			View		SBD>??>CD
Ed Izsak (1/5)	CDR / 3		A	View		SDBD
Brian C (1/4.7)	SHN / 3	A	A	View		MSR>Reel>Alesis Masterlink>CDR
Notes:	not for trade
mike (1/5)	Shn / 2			View	11257
mike (1/5)	Flac / 3			View	106099
CDJones (1/5)	SHN/CDR / 4			View	2248
Notes:	2248
CDJones (1/5)	SHN/CDR / 3			View	32862
Notes:	32862
CDJones (1/5)	FLAC24/DVD / 1			View	102859
Notes:	102859 24-bit
CDJones (1/5)	FLAC/CDR / 4			View	106099
Notes:	106099
CDJones (1/5)	FLAC24/DVD / 2			View	106100
Notes:	106100 24-bit
CDJones (1/5)	FLAC24/DVD / 2			View	102859
Notes:	102859 24-bit
CDJones (1/5)	FLAC/CDR / 4			View	114029
Notes:	114029
CDJones (1/5)	FLAC24/DVD / 2			View	114088
Notes:	114088 24-bit
woodenalligator (1/5)	CDR / 3	A++	A+	View		SB
thegreatdivide6 (1/0)	flac / 0			View	106099
thegreatdivide6 (1/0)	flac / 0			View	114029
Jim (1/5)	SHN / 0			View	32862
Jim (1/5)	FLAC / 0			View	106099	106099
MrChips (1/0)	/ 3		A	View
Notes:	without NRPS
Stuart Ferguson (1/4.3)	CDR / 4			View	106099	Soundboard
Notes:	DVD 1225; lineage: Recording Info Source One:SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips); Recording Info Source Two:SBD -> Shure Line Mixers -> Advent Advocate Dolby B Unit -> Master Reel (Sony Deck - BASF Tapes - 1/4 Track - 7 1/2 ips) -> Reel (Maxell Tape - 1/4 Track - 7 1/2 ips); Transfer Info Source One: Master Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k); Transfer Info Source Two:Reel (Teac A-6100) -> Advent Advocate Dolby B Unit -> Fostex FR-2LE -> WAV (24bit/96k); Mastering Info:WAV -> Adobe Audition v3.0 -> Samplitude Professional v11.03 -> FLAC/16; Reels Baked and Transferred By David Gans; All Mastering By Charlie Miller
datdork (1/5)	shn / 2			View		notes
Notes:	Grateful Dead 04/28/71-Complete Fillmore East New York, NY Three Discs Lineage: Truckin'through Bird Song 02:07.38: MSR>Reel>Alesis Masterlink>CDR Bird Song 02:08.70 through end of show: MSR 7 inch(7.5 ips)Revox A 77>Alesis Masterlink>CDR (previous splices patched via multi- track sources as noted below) Disc 1 ---- Set 1 ---- 1. Truckin' [13:54] 2. Beat It On Down The Line [3:57] 3. Loser [8:08] 4. El Paso [6:52] 5. The Rub [5:22] 6. Bird Song** [9:49] Total disc time: [48:03] Disc 2 (Requires an 80 minute disc) ---- Set 1 (Continued) ---- 1. Playing in the Band [7:07] 2. Cumberland Blues [7:01] 3. Ripple [6:11] 4. Me and Bobby McGee [8:21] 5. King Bee [8:42] 6. Bertha // [5:10] 7. Tuning [2:34] ---- Set 2 ---- 8. Morning Dew [12:43] 9. Me & My Uncle [3:56] 10. Deal [5:29] 11. Hard to Handle [10:03] Total disc time: [77:20] Disc 3 (Requires an 80 minute disc) ---- Set 2 (Continued) ---- 1. Cryptical Envelopment > [4:12] 2. Drums > [5:00] 3. The Other One* > [12:52] 4. Wharf Rat [09:28] 5. Sugar Magnolia [12:34] 6. Dark Star* > [14:06] 7. St. Stephen* > [6:24] 8. Not Fade Away* > [3:34] 9. Goin' Down The Road Feelin' Bad* > [6:30] 10. Not Fade Away* [3:32] Total disc time: [78:12] (Extraction and.shn encoding by Seth Kaplan via EAC and MKW. Accurate extraction and properly aligned sector boundaries verified via EAC and .shntool) Notes: * patched w/Skull & Roses patched w/LAGTGD * with Tom Constanten Truckin' - 0:19 -/splice > Bill Graham's intro before Truckin' Bird Song - 0:01.32 splice at source change from initial source to remaining source patched from LAGTGD. 0:03.049 MSR tape glitch prior to second splice removed and patched with additional 02:33.63 from LAGTGD. Bertha - cuts at 05:08 - probable reel flip. Cross fade from 04:57- 05:08 via Cool Edit 2000. Other One - 08:47.22 (through end) patched from Skull & Roses with initial 08:37.22 increased by +4db. Cool Edit Quick Filter used to increase frequencies: 2.9K - 1.5 7.3K - 4.5 22K - 7 Final 00:10 normalised by an average of +3db - +6db via Cool Edit 2000 to adjust the initial edited cross fade on the original Skull & Roses release as well as cut to remove the opening chord of Wharf Rat as heard at the end of the original Skull & Roses fadeout which is picked up in the following Wharf Rat patch from LAGTGD. Wharf Rat - entire track patched from LAGTGD and normalised to 60%. Sub second audience segment overlapped from end of 4/29's Minglewood preceding Wharf Rat on LAGTGD removed to complete the original segue from the Other One > Wharf Rat as heard at the end of the original Skull & Roses fadeout. General - several miscellaneous pops during tuneups either prior to or subsequent to Bird Song, Bertha, Hard to Handle and Cryptical Envelopment removed via Cool Edit 2000 click/pop eliminator. Edits performed by Seth D Kaplan via Cool Edit 2000. 08:37.22 of the Other One patch edited by Alan J Fink via Cool Edit as described above. Md5's: e95f2493f0c30ce0c5a8510c69f924e0 gd71-04-28d1t01.shn 2beaee542fe387e6c9731f90e3da1138 gd71-04-28d1t02.shn aca70833e5417e7f85236d4c589c49a2 gd71-04-28d1t03.shn f89e4de6665ac704135e1cad62c24ab2 gd71-04-28d1t04.shn 4fb32c6290d718c776c8ad247cc56ffe gd71-04-28d1t05.shn 92183b44f622535bfe484bfea3929728 gd71-04-28d1t06.shn a69dd380871450b5411b87786d3ce2f5 gd71-04-28d2t01.shn ba192641d7789cd3969a63d48f7770c9 gd71-04-28d2t02.shn 22a97668db0e9e52c7c7db41c77dfe49 gd71-04-28d2t03.shn df4c7301caa95b1a89801c0fb8ee3bab gd71-04-28d2t04.shn 2c88e8a4a91afc64b64c673a97eae06e gd71-04-28d2t05.shn efc72564aa7d08e544491657c03c86f9 gd71-04-28d2t06.shn 9a01bdc1adff2fa7e64add091a4266f8 gd71-04-28d2t07.shn 0975f8fa3abd6ce776e2b5f8986b93c7 gd71-04-28d2t08.shn 003f5b753df7f628921860ff351665c6 gd71-04-28d2t09.shn 5b820d4cba3d64f0e6193e2fa7c38dd6 gd71-04-28d2t10.shn 1f174938990bafbedd6927c5fd0a7e5b gd71-04-28d2t11.shn 3410065e1a0324b73c345b3e3a418536 gd71-04-28d3t01.shn 0f6b6ad023557464a7d572455a14c5dc gd71-04-28d3t02.shn 126a4e5cdd9abbf473f7b66b19174c66 gd71-04-28d3t03.shn 5a848162da9410f8abbc15873287f261 gd71-04-28d3t04.shn b81b47ad73643ff5a7aca7d666a885c1 gd71-04-28d3t05.shn be01630b7ae18f70862227249e9f5cbe gd71-04-28d3t06.shn bf09b500217b218c564a71886f3eb487 gd71-04-28d3t07.shn f90245bea999b5c13b439446c82a0a61 gd71-04-28d3t08.shn 0c7fe85aebf823e208dd4a359b2e0068 gd71-04-28d3t09.shn 94057c227ee3f69f446e1ee27bbc9a68 gd71-04-28d3t10.shn The above edits make this classic show musically complete given the good fortune of having the long missing portions supplied via the official releases. Many thanks to the Dead, Bill Gadsden, the tapers, Jim Wise and others for getting just about all of the great music played during this phenomenal run, out there. Seth Kaplan July 27,2002 Bill Gadsden's story of the April '71 Fillmore tapes: --------- The Story of the Tapes -------*- "Who's the Dead freak?" With that innocuous question the story of these tapes begins. It was the summer of 1973, between attending 6/10/73 at R.F.K. Stadium and the Watkins Glen soundcheck. A friend of mine was listening to Live/Dead at his parent's house. A local cabinetmaker was working at the house and asked the question. He mentioned that he had a bunch of Dead tapes from the Fillmore East back at his house. For about a year, three 90 minute composites of the 4/71 shows had made their way around taping circles in the Princeton, N.J. area, but not the complete shows. Within hours, Peter Kafer and I were at the cabinet shop with our reel to reel decks. What we found when we got there were 11 master reels of the 4/71 shows, along with a host of other 1st and 2nd generation tapes from the Fillmore East of other bands, but also including 9/20/70. Also there were the 1st generation reels from 11/23/70 at the Anderson Theater. The 4/26-29/71 master reels were recorded by an individual named Buddy Miller, a local N. J. area musician. Buddy has become a very well respected, and recorded, Nashville guitarist. He is currently touring with Emmy Lou Harris, and can be heard on her current CD, Red Dirt Girl. Buddy was a friend of the cabinetmaker and, since he travelled a great deal, the tapes resided at the cabinet shop. Buddy was set up to record these shows by a friend who was a member of the Fillmore East soundcrew. These shows were NOT recorded in the same manner as the February '70,the May 15, '70 show, and the material from the September 18, 19, '70 shows. For the April '71 shows, a feed was run off the soundboard, which was upstairs in a balcony box, stageleft. There is a good picture of the soundbooth in Amalie Rothchild's book, Live at the Fillmore East. The feed went from the soundboard into a broomcloset nearby, literally a broomcloset. Buddy remembers a bucket and mop! The feed was mixed down on two little Shure line mixers and recorded on a middle of the line Sony deck onto BASF 90 minute reels at 7 1/2 ips. There was also a little consumer Dolby B unit used, which is why these recordings seem so 'bright'. We taped everything that summer of 1973 onto BASF reels. The following fall, Peter took his reels with him to California to begin his freshman year at U.C., Berkeley. From here he met various West coast tapers such as Bob Menke and Rob Bertrando, and the tapes began their circulation on the West coast. I took mine to Trinity College in Connecticut and began to circulate them out East. Two years later, we wanted to retape the original masters, since we now had somewhat better decks and Maxell reel to reel tape had come on the market. We recopied everything. At this time, Buddy Miller simply gave us many of the Fillmore and Anderson Theater reels for essentially the cost of blank tape. His own musical interests had moved on. Of the 4/71 masters, we were given 6 of the 11 reels and Buddy retained the other 5. I've had these reels in my possession since then. Why has it taken so long for these reels to enter the digital world? Basically because I dropped out of the whole tape collecting scene about 1980 due to family, career, etc. However, two of my old taping buddies, Bernie Tenenbaum and Chris Zingg, implored me to get my reels digitized before the analog reels degraded. Fortunately they had been safely stored in cardboard boxes, away from heat and light, in the back of a closet. I knew nothing of the digital world, didn't have a DAT or CD machine, had no idea what a tree or a 'B and P' was, and was absolutely amazed at how big the community of collectors had become. When I effectively left it at the end of the '70s, it was really only a handful of people. This past Spring I reconnected with Buddy Miller for the first time in over 20 years. He actually was able to dig up 2 of the 5 original BASF masters that he had hung onto, and mailed them up to me. With 8 of the original 11 now in hand, and my complete set of Maxell 1st gen. copies to fill in the blanks for the still missing 3 masters, I digitized the shows. The missing reels, #'s 4, 5, and 6, run from 4/27 Hard to Handle through the pre-break portion of Bird Song on 4/28. For this I used the Maxells. Along the way, I was directed to Jim Wise for advice and assistance in digitizing and getting the shows out into the community. I transferred the shows to CD incorporating the New Riders sets, instead of treating them discreetly. I really believe that the performances should be considered in their entirety. Back in the '70s when these shows got circulated, the Riders sets got ignored after awhile, which was a shame. They are a lot of fun to listen to, and a great warmup for the Dead show to follow. The reels were played on a Revox A77 and digitized directly onto an Alesis Masterlink ML9600, sampling at 16 bit, 44.1 k. The Alesis was a wonderful solution for someone in my position, sitting on a bunch of reels. It removed the intermediate step of re-recording everything onto DAT. For those who are curious about the Masterlink, check it out at www.alesis.com. One final bit of information that makes this whole 27 year story all the more fascinating is that these 2 track masters were used for the recent 16 track release, Ladies and Gentlemen....The Grateful Dead. While the 16 track recordings had Bill Graham's introduction and his tribute/tirade speech before In the Midnight Hour on 4/29, it was not nearly as strong and present as it was on the 2 tracks for some reason.Through an introduction facilitated by Jim Wise, Jeffrey Norman and David Lemieux asked if I could send out the 2 tracks to be used on the release. With 5 days to go before the production CDs were due at the printing plant, I FedEx'ed them out and they were used for those two Bill Graham pieces. A wonderful chapter after all these years. There has always been a question about 4/25/71. The BASF master labelled #1 begins with Big Boss Man from 4/26. Back in 1973 we saw nothing of any taping of 4/25's show. I have asked Buddy about it and, after 29 years, he doesn't believe he recorded it, which would be consistent with 4/26 being #1. Just a guess: since the record company was there to record the run, our surrepticious broomcloset tapers just lay low the first night to make sure it was clear to try to tape. I know there has been a high-gen fragment of 4/25 that has circulated for years that supposedly came from cassette masters that were also made of these shows. While anything is possible, if this were true one would have to wonder why no material from cassette has ever surfaced of any of the other 4 nights. The mystery remains, but one day I am gonna have to put this mystery to rest. I hope everyone enjoys these new and improved versions of the 4/71 Fillmore East shows. They have always been the heart of my Dead collection and many others as well, I suspect. Bill Gadsden
KB Larsen (1/5)	shn / 3			View	2248
Notes:	Includes NRPS set.
KB Larsen (1/5)	shn / 2			View	11257
Notes:	Thanks Alan! 3 audio
KB Larsen (1/5)	shn / 2			View
Notes:	Thanks Chris! sources: d01t01 through d01t07 (2:32): MR>R>CDR; d01t07 (6:00) through the end: MR>CDR, plus patches from alternate sources. From the Frisco Refinery. SHNs not listed at etree as of 08-01-04. 3 audio.
Hanf (1/5)	Flac / 0			View	106099
openpath (1/5)	FLAC / 0			View	126262	flac16; Lineage:MR@ 7.5 ips>R @ 7.5 ips.(Wilson Boswell). Truckin thru Bird Song is from a...

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Sound

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Marc Deardorff (1/5)

shn / 3


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