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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)
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User (active/rating) Media / # Show Sound Details DB Source User Source
Charles Wier (4/5) SHN / 3 View 152
Charles Wier (4/5) SHN / 3 View 3328
Charles Wier (4/5) SHN / 3 View 21619
TuneTree (4/0) Shn / 0 View 2199
Friedemann Rothfuchs (4/5) SHN / 2 A View   SBD->two-track MR->DAT->Sonic Solutions->CDR->EAC
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. Disc 1 Set 1 1. [ 4:14.13] Stage Announcements 2. [ 3:36.65] The Promised Land 3. [ 9:15.23] Sugaree 4. [ 3:27.26] Me And My Uncle 5. [ 4:40.57] Deal 6. [ 7:10.26] Black Throated Wind 7. [15:05.18] China Cat Sunflower -> I Know You Rider 8. [ 3:43.36] Mexicali Blues 9. [ 5:53.40] Bertha -------- 57:07.04 Disc 2 Set 2 1. [18:38.49] Playin' In The Band * 2. [ 2:20.74] Stage Announcements 3. [ 8:45.74] He's Gone 4. [ 0:32.22] Stage Chatter 5. [ 5:04.35] Jack Straw 6. [12:33.67] Bird Song @ 7. [ 0:28.24] Stage Announcements 8. [ 5:32.18] Greatest Story Ever Told -------- 53:56.63 Disc 3 Set 3 1. [ 0:58.05] Stage Announcements 2. [31:13.05] Dark Star -> 3. [ 5:19.02] El Paso 4. [10:25.61] Sing Me Back Home 5. [ 0:48.32] Stage Announcements 6. [ 8:30.16] Sugar Magnolia $ 7. [ 2:06.40] Stage Announcements 8. [ 6:12.02] Casey Jones 9. [ 5:26.43] One More Saturday Night 10. [ 6:24.10] Stage Announcements & -------- 77:23.66 Footnotes: * First 57 seconds spliced from Betty Reel (Gans) @ At about 6:50 two seconds spliced from Betty Reel (Orf) $ Piano distortion starting at 5:05 is on original reel (somewhat cleaned up by Orf) & Stage Announcements can be eliminated to fit disc 3 on a 74 min CD-R General Comments: In all the circulating copies of this show I've heard, including this one, small analog pops were scattered throughout. I believe they originated at the soundboard or from one of the band member's instruments. I edited out about 100 of these (hopefully all of them) with the Sound Forge pencil tool. Click removal software was not smart enough to find and fix these particular pops. I noticed as I was listening to this show that it sounded kind of flat/sour/sluggish. When I finally sat down to give it a thorough listen, I noticed that there was a definite speed change where Betty source entered the new source 57 seconds into Playin'. I determined by using a handheld tuner and the spectrum analyzer of Sound Forge that the Betty reel was in tune and that the new source was slow (primarily tuning the show to where the band is tuning after Sugaree; I made Phil's A3 tune to exactly 220 Hz). Happily, by "tuning" (speeding up) the new source, everything sounds "right" and the transition from the Betty source into this source in Playin' no longer had that audible speed slowdown. I did a pitch shift of +19 cents on all of the show (except the first 57 seconds of Playin') which effectively "played the original reel a little faster". Shntool was used to fix the track boundaries which were now off due to the pitch shift (all the wav files were shorter). I was able to make the piano overmodulation distortion starting about five minutes into Sugar Magnolia slightly more palatable by pulling out the high frequency components of the distortion using the Sound Forge Click Removal algorithm and some hand editing. It still sounds bad, but distortion of this nature is nearly impossible to fix. Finally, some comments about how this show sounds different from the Betty source. This reel was originated from the folks who were filming the Sunshine Daydream movie. The movie source sounds "clearer"; there is a better defined high end which leads to a less "veiled" sound than the Betty source. Vocals and high-hat sound clearer and higher in the mix. Bass is mixed lower; the low bass is especially thin on the movie source, while the mid-bass is fine. The Betty source, to my ears, sounds more "veiled" than the new source, and more bassy. The movie source has more tape hiss than the Betty source, but it's hiss only from the original reel. My guess is the Betty reels used some form of noise reduction (Dolby A?) while the movie source did not. In my opinion, this is the best sounding version of this show currently circulating. Enjoy, and feel free to send comments my way. Thanks again to David Gans and Adam Jerugim for making this possible. Leigh Orf <[email protected]> http://orf.cx written March 10, 2001
bob (4/5) cdr / 3 View  
Adam Olsen (4/5) cdr / 3 View   sbd
Notes: Springfield Creamery Benifit
Stuart Kortie (4/5) Shn / 2 View   SBD > reel > DAT > CDR > EAC > shn
Matt Stevenson (4/5) / 0 View 152
Doug Nawrocki (4/4.8) SHN / 2 View 3328 SBD > MR > DAT > SS > CDR > EAC > SF
Chris Miller (4/0) / 0 View 16582
Chad Rieder (4/5) SHN / 2 A View 3328 SBD->two-track MR->DAT->Sonic Solutions->CDR->EAC-> Sound Forge Edit (analog...
Perks (4/5) CDR / 3 A- View  
Artur Oczko (4/5) / 3 A+ A+ View   sbd
Notes: sbd
thanxmikey (4/0) / 3 View  
Frankie Four Fingers (4/0) SHN>WAV / 1 A+ A+ View 16582 SBD> 16 Track Master Reels> [email protected]> DAT> DAT> WAV> SHN; Banter between songs...
Notes: 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
Joey Bohlmann (4/5) CDR / 3 A View   SBD Master Betty Reel>PCM>DAT>ZA2>CDR
Notes: SBD*
DJ Roach (4/5) CDR / 3 A View 2199
DJ Roach (4/5) HDD / 3 View 16582
Notes: FLAC
Eric Johnson (4/5) DVD / 1 View  
Notes: 2nd Gen. VHS of original captured at 6000 bits/second. Audio: 16 track Master Reels > DAT (x3) > CDA > EAC > SHN digitally re-mastered using a custom built, Dual-DAW, nicknamed "Bertha", then spliced with audio from the original film soundtrack, and edited with Adobe Audition.
jcroot (4/0) / 0 View 2199
Greg Cappa (4/0) CDR / 3 View   SBD
mike (4/5) CDR / 3 View   Soundboard > 16-Track Master Reel > DAT >CDR
spcwrg1956 (4/0) / 3 View   SBD
Tony Kimm (4/5) shn / 2 View 2199 Master Betty reel > PCM > DAT > ZA2 > CD > EAC > SHN
Tony Kimm (4/5) 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
BlingFree (4/0) VOB / 0 View   PRO NTSC DVD5 zane's dvd-r>oz dvd-r>berger dvd-r>dvd decrypter
Rev_St_Penis (4/0) / 0 View 8045
Dave Wright (4/4.9) CDR / 3 View   SBD:MR>[email protected]>D>D>WAV>shn
Joey33 (4/0) FLAC / 0 View 16582