BAND:             GRATEFUL DEAD
SHOW DATE:        02-27-1969
VENUE:            FILLMORE WEST
LOCATION:         SAN FRANCISCO, CA
SET(S):           I / II
LINEAGE: RTR @ 15 I.P.S. > MCS MASTER D > SSSB
AUDIO RATING:     AR1a
MEDIA REQUIRED:   DAT: 120 min.
                  CD-R / MINI DISC: 3

RELEASED ON: 07/12/02

DISC 1
gd69-02-27d1t01  11:42.116  Good Morning Little Schoolgirl ( > "Ouch, my foot!")
gd69-02-27d1t02  08:59.030  Everybody's Doin' That Rag
gd69-02-27d1t03  01:54.855  Cryptical Envelopment ->
gd69-02-27d1t04  00:11.861  -> Drums ->
gd69-02-27d1t05  08:32.486  -> That's It For The Other One ->
gd69-02-27d1t06  09:30.619  -> Cryptical Envelopment (with extended jams)
Total time: 0:40:50.967


DISC 2
gd69-02-27d2t01  04:01.993  Dupree's Diamond Blues ->
gd69-02-27d2t02  05:56.434  -> Mountains Of The Moon
gd69-02-27d2t03  21:23.642  Dark Star ->
gd69-02-27d2t04  05:21.678  -> Saint Stephen ->
gd69-02-27d2t05  15:40.792  -> The Eleven
Total time: 0:52:03.539


DISC 3
gd69-02-27d3t01  16:08.000  Turn On Your Love Light
gd69-02-27d3t02  06:20.181  E: Cosmic Charlie
Total time: 0:22:28.181


Originally uploaded exclusively to GDLive.com by
John "Jay" Serafin, owner/audio engineer of Serafin Station Studio B
"Making Kindness Dubs For Everyone!"
No Copyright Infringements... EVER!
Web Info: http://members.home.com/kinddubs
E-Mail: [email protected]


OFFICIAL SHOW NOTES:  LINEAGE:16 track RTR (multiple decks) > MCS Master Mixdown D > SSSB; other artist(s): Pentangle; Sir Douglas Quintet; "Dark Star" and "Saint Stephen" appear on the commercial release "Live Dead"; "It Hurts Me Too" appears on some set lists, but was not played; any/all editing, fades, NR, hiss elimination, phase shifting, time smear correction, digital jitter elimination, EQ, and quantization noise elimination (when up/down-converting audio for CD-R or DVD-R mastering), were all performed using 24-bit / 96 kHz digital realm processing at Serafin Station Studio B [using the "code name Harpoon" editing software V1.001.04 Build 499]


JAY'S PERSONAL COMMENTS:

To borrow a line from an OLD 7-Up commercial: "Crisp and clean...  no caffiene"!

Well, this show didn't need any caffiene to boost it's energy level, it's lighthearted nature, all the little jokes and comments you hear Jerry and Bob make either directly into their mikes, or turned to another band member and saying something.  Just listen to the closing of Set I, after Jerry tells the audience about their between show break...  Weir starts talking about "the monkeys"...  good stuff! The band was right on the money for this show.  It was upbeat, full of jams, Phil going WAY off on tangents during Dark Star, and much more.  A "complete" Dead show, in every sense.

And the sound is SO CRISP, it's like you were right at the mixer, hearing every single thing going on...  from B&J's string plucking, to B&M's sticks hitting each other on purpose (for effect), to Pig's just touching the keys to his Hammond (and you get the little "click" right before the note starts)...  even down to where you can hear a corroded plug/jack pair making noise on the right channel at one point.  The last item only occurred once, during a between song lull, and you can hear the engineer's making the connection more secure during the opening of the following song.

This is a show where you hear everything! From when Bob and Jerry hit their FX pedals to the mikes being turned on and off during songs...  and ESPECIALLY during Set II, you hear how Weir plays his electric off of Jerry's acoustic during Mountains Of The Moon.  Words can't describe how well they played together when the moods were just so right.  Didn't happen every show; sometimes they were just totally "opposite" in their playing, most shows showed their synergy and their complimentary and syncopation playing, and then you have shows like this, where they are just so in tune with each other.

I have to thank Phil for re-mixing this show down in 1991, in a very good and "uncluttered with stoners" studio environment.  And rather than using the digital safety copies of the show to do the remix, he felt it would be better to utilize the original reels, just to give this show the highest quality sound.  There was going to be a commercial release of many of the late 60's shows for a 3-disc box set, but that never was finished.

This is NOT the "completed Phil re-mix", but the final track mixdown, with some "rough edits" which still needed to be eliminated.  There were several "gaps" during several of the songs in Set II, where you could hear the RTR decks stop, but the processes Phil had already programmed into the mixing console busses continue (such as the reverb & delay, and some of the peak limiting, but no compression) continued on for a second or two.  These gaps were cross-faded, which eliminated a total of 27 seconds from all