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Set I
How Sweet It Is To Be Loved By You
Stop That Train
Forever Young
Run For The Roses
Like A Road
My Sisters And Brothers
Deal
Stop That Train
Forever Young
Run For The Roses
Like A Road
My Sisters And Brothers
Deal
Set II
The Harder They Come
Mission In The Rain
That's What Love Will Make You Do
Second That Emotion
Waiting For A Miracle
Don't Let Go >
Lonesome And A Long Way From Home
Mission In The Rain
That's What Love Will Make You Do
Second That Emotion
Waiting For A Miracle
Don't Let Go >
Lonesome And A Long Way From Home
Set III
Comment
Jerry Garcia Band, with Clarence Clemons.
Last Changed By
Joe Jupille
Sources
(8295) View Source
MAC > DAT > CDR > EAC > SHN
(25626) View Source
Jerry Garcia Band: Realistic Stereo Mic on stand > Realistic Mixer > Sony Recorder; Master cassettes were transfered to Hi-Fi VHS circa 1990; Transfer: VHS > M-Audio Delta Audiophile/Audacity > Wav > shn32.
(84359) View Source
JGB: 2 Nakamichi CM-100 Mics, CP-1 capsules>Sony D-6 analog tape recorder (FOB inside Pavilion - Alpine Valley Dead Center); Transfer/mastering: Nak MR-1 -> Behringer Ultra-DI Pro DI800 -> Behringer Ultramizer Pro DSP-1424P -> (2) Presonus EQ3B Parametric EQ's -> Behringer Composer Pro-XL: side chain loop Behringer Ultragraph Pro FBQ1502: -> Behringer Ultraflex Pro EX3200 -> Presonus Blue Tube Pre-amp -> BBE 882i -> dbx 231 EQ -> Behringer Ultramatch Pro SRC2496 -> Apogee SPDIF -> M-Audio 1010LT -> Wavelab @ 24/96 (fixed pops, dropouts, fades at flips, limited noise reduction, L3 to 16/44). Compression/checks: Flac Frontend L8 -> Traders Little Helper (sbe check, ffp, md5's) taped by Greg Holtz
(99084) View Source
JGB: Greg Holtz, Nak CM-100s with CP-1 cardiod caps > Sony WMD-6C; Transfer: By JAZ, Master Cassettes (Maxell MX90) Tascam 112 > Korg MR-1, 1bit 2.8MHz > USB > Korg Audio Gate Software 24bit 48KHz -> Mastered in Wave Lab 5.0 using UAD Technology > R8brainPro for SRC 16/44.1KHz -> Traders Little Helper flac8.
(118330) View Source
JGB; flac1644; Master audience recording by SJ. 2x Audio Technica ATR-35 mics > Sony PC-39 > Sony WM-D6C (2x Maxell MX-90); Transfer: Master tapes > Harmon Kardon TD-302, heads aligned to tape > Zoom H2 wav recorder @16/44.1 > SDHD > tracking and editing w/wavepad > flac and checksums w/traderslittlehelper Analog > digital transfer by arfarf.
(141680) View Source
JGB; flac24; s2; Tom Markson's Sony ECM-909-> Sony D6C-> XLII Master Cassette; Mastered: XLII Master Cassette-> Nakamichi 7a-> Denon ADC 24bit@48khz-> Wavelab-> WAV-> FLAC24
(141874) View Source
JGB; flac16; s2; Tom Markson's Sony ECM-909-> Sony D6C-> XLII Master Cassette; Mastered: XLII Master Cassette-> Nakamichi 7a-> Denon ADC 24bit@48khz-> Wavelab-> WAV-> FLAC24
(142021) View Source
JGB; flac16; Source: Crown PZM180’s (Hemispherical Omni’s) > Marantz PMD430; Location: 1/3 Up Lawn, In-Line w/ Meyer Sound MSL-3 Right Side Pavilion Delay Array; Conversion: PMD430 > Foster D5 > Canare AES > Motu Traveler > FW > MacBook Pro; Processing/Edits: Peak Pro (ID’s & Fades) > XACT (flac Level 8); Recorded By: Ted C. & Nat F. Upped: By Ted C.
(8295) View Source
MAC > DAT > CDR > EAC > SHN
(25626) View Source
Jerry Garcia Band: Realistic Stereo Mic on stand > Realistic Mixer > Sony Recorder; Master cassettes were transfered to Hi-Fi VHS circa 1990; Transfer: VHS > M-Audio Delta Audiophile/Audacity > Wav > shn32.
(84359) View Source
JGB: 2 Nakamichi CM-100 Mics, CP-1 capsules>Sony D-6 analog tape recorder (FOB inside Pavilion - Alpine Valley Dead Center); Transfer/mastering: Nak MR-1 -> Behringer Ultra-DI Pro DI800 -> Behringer Ultramizer Pro DSP-1424P -> (2) Presonus EQ3B Parametric EQ's -> Behringer Composer Pro-XL: side chain loop Behringer Ultragraph Pro FBQ1502: -> Behringer Ultraflex Pro EX3200 -> Presonus Blue Tube Pre-amp -> BBE 882i -> dbx 231 EQ -> Behringer Ultramatch Pro SRC2496 -> Apogee SPDIF -> M-Audio 1010LT -> Wavelab @ 24/96 (fixed pops, dropouts, fades at flips, limited noise reduction, L3 to 16/44). Compression/checks: Flac Frontend L8 -> Traders Little Helper (sbe check, ffp, md5's) taped by Greg Holtz
(99084) View Source
JGB: Greg Holtz, Nak CM-100s with CP-1 cardiod caps > Sony WMD-6C; Transfer: By JAZ, Master Cassettes (Maxell MX90) Tascam 112 > Korg MR-1, 1bit 2.8MHz > USB > Korg Audio Gate Software 24bit 48KHz -> Mastered in Wave Lab 5.0 using UAD Technology > R8brainPro for SRC 16/44.1KHz -> Traders Little Helper flac8.
(118330) View Source
JGB; flac1644; Master audience recording by SJ. 2x Audio Technica ATR-35 mics > Sony PC-39 > Sony WM-D6C (2x Maxell MX-90); Transfer: Master tapes > Harmon Kardon TD-302, heads aligned to tape > Zoom H2 wav recorder @16/44.1 > SDHD > tracking and editing w/wavepad > flac and checksums w/traderslittlehelper Analog > digital transfer by arfarf.
(141680) View Source
JGB; flac24; s2; Tom Markson's Sony ECM-909-> Sony D6C-> XLII Master Cassette; Mastered: XLII Master Cassette-> Nakamichi 7a-> Denon ADC 24bit@48khz-> Wavelab-> WAV-> FLAC24
(141874) View Source
JGB; flac16; s2; Tom Markson's Sony ECM-909-> Sony D6C-> XLII Master Cassette; Mastered: XLII Master Cassette-> Nakamichi 7a-> Denon ADC 24bit@48khz-> Wavelab-> WAV-> FLAC24
(142021) View Source
JGB; flac16; Source: Crown PZM180’s (Hemispherical Omni’s) > Marantz PMD430; Location: 1/3 Up Lawn, In-Line w/ Meyer Sound MSL-3 Right Side Pavilion Delay Array; Conversion: PMD430 > Foster D5 > Canare AES > Motu Traveler > FW > MacBook Pro; Processing/Edits: Peak Pro (ID’s & Fades) > XACT (flac Level 8); Recorded By: Ted C. & Nat F. Upped: By Ted C.
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If this is a duplicate or incorrect entry and should be merged, use the Request Merge page.