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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)
(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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Collectors With This Show
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| User (active/rating) | Media / # | Show | Sound | Details | DB Source | User Source |
|---|---|---|---|---|---|---|
| thrak (5/5) | shn / 3 | View | 2199 | SBD Master Betty reel > PCM > DAT > ZA2 > CD > EAC > SHN; Set 3 has unknown #... | ||
| thrak (5/5) | shn / 3 | View | 152 | SBD MR> DAT> CDR> EAC> SHN; via S. Kaplan, G. Hamilton; known flaws: sound system... | ||
| thrak (5/5) | shn / 4 | View | 8045 | SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM> (PCM) > D > SSSB | ||
| Brian (5/4) | VCD / 2 | A | View | VIDEO Capture was performed by Dan Blank using Joe Estades vhs tape (2nd generation vhs of... | ||
| Notes: | Loosely shot, this 100-minute film captures an incredibly youthful Grateful Dead playing outdoors at a creamery benefit in Veneta, Oregon. | |||||
| Harm (5/5) | DVD / 2 | View | Pro-shot | |||
| Notes: | Upgrade with Audio from Bertha Soundboard. AKA Sunshine Daydream | |||||
| Harm (5/5) | CD / 2 | View | 2199 | |||
| dave truscott (5/0) | CDR / 3 | A | A | View | SBD | |
| Notes: | CASEY JONES MISSING | |||||
| GBL (5/0) | / 0 | View | 21619 | |||
| GBL (5/0) | / 0 | View | 16582 | |||
| GBL (5/0) | / 0 | View | 3328 | |||
| tomás (5/5) | CDR / 3 | View | ||||
| kenny daniel (5/0) | cdr / 3 | View | ||||
| Murphy (5/5) | .shn / 2 | View | 4682 | |||
| wrs2lig (5/0) | / 0 | View | 21619 | |||
| Brent Easton (5/4.9) | CDR / 3 | A+ | A | View | SBD | |
| David Geisler (5/0) | / 0 | View | 4682 | |||
| neal r (5/4) | / 3 | View | 16582 | |||
| Notes: | Flac Archive #17 & #31 | |||||
| Alan (Slydell) (5/5) | Audio / 3 | View | ||||
| Alan (Slydell) (5/5) | MPEG / 2 | View | ||||
| Notes: | Sunshine Daydream Video | |||||
| DR-K (5/0) | DVD+R / 1 | View | "Sunshine Daydream"; The Legendary (yet still unreleased) Concert Film by John Norris, Sam Field,... | |||
| Notes: | The Grateful Dead 8/27/72 the Old Renaissance Fairgrounds Veneta OR "Sunshine Daydream" The Legendary (yet still unreleased) Concert Film by John Norris, Sam Field, and Phil DeGuere Source: "Sunshine Daydream" Video Source: 2nd Gen. VHS of original captured at 6000 bits/second. (NTSC) 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. DVD Layout 1-1. [Beginnings] 1-2. [Bring on Summer] 1-3. [Water] 1-4. Promised Land 1-5. [Crisis] 1-6. China Cat Sunflower 1-7. I Know You Rider 1-8. [The Truck] 1-9. Jack Straw 2-1. [Oregon Insanity] 2-2. Dark Star 2-3. El Paso 2-4. Greatest Story Ever Told Fingerprints: d176231dee16e8a2877ed6d749803109 *VIDEO_TS.BUP d176231dee16e8a2877ed6d749803109 *VIDEO_TS.IFO aecbc51d518cb7b4cc8f23624f78a01e *VIDEO_TS.VOB 4c030a7871acd9624a774601105fd658 *VTS_01_0.BUP 4c030a7871acd9624a774601105fd658 *VTS_01_0.IFO d473c3995140513dc113cb37c8177c57 *VTS_01_1.VOB f8d11903db30c81b743c726fb309f283 *VTS_01_2.VOB d1a857a22a3984636e86eb0ea0535dc0 *VTS_01_3.VOB 7cf2be5b1bd60cb11e52e067bc0412d4 *VTS_01_4.VOB a9c906df1af7db62a89c402733a6ae69 *VTS_01_5.VOB 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. Enjoy! THis is one of the best copies in out there today so if you dont have this upgrade then get it Quote: Originally Posted by 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 ?clair 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. | |||||
| Kevin Rowe (5/5) | cdr / 3 | a+ | View | |||
| Steve Blanchard (5/5) | SHN / 3 | View | 3328 | SBD> two-track MR> DAT> Sonic Solutions> CDR> EAC> Sound Forge Edit> Sound Forge Pitch Shift | ||
| Steve Blanchard (5/5) | SHN / 3 | View | 21619 | Bertha Remaster of the Braverman/Dank 16 track source;... | ||
| Notes: | Bertha | |||||
| Scott Edwards (5/0) | / 0 | View | ||||
| Willtd (5/5) | SHN / 2 | View | 3328 | |||
| Willtd (5/5) | DVD / 2 | View | Video: Unknown Standalone source > DVD Decrypter > Sony Vega 7.0 (original bitrate was 9600... | |||
| Chefb (5/0) | CDR / 3 | View | ||||
| Chefb (5/0) | DVD / 2 | View | ||||
| Captain Ten Hits (5/5) | shn / 2 | View | ||||
| Rick Hanlon (5/5) | CDR / 2 | View | ||||