One More Saturday Night | 1972-08-27 | Grateful Dead

Playback	Listens	Hours
48h	89.9k	11k
7d	120.6k	15.2k
30d	1.2M	147.4k

Playback	Listens	Hours
48h	19k	2.8k
7d	36.5k	5.4k
30d	265.5k	40.4k

Playback	Listens	Hours
48h	41	3
7d	185	12
30d	1.8k	115

Playback	Listens	Hours
48h	61	8
7d	50	6
30d	419	61

Playback	Listens	Hours
48h	2	7m
7d	14	1
30d	182	16

Playback	Listens	Hours
48h	78	8
7d	102	18
30d	400	74

Playback	Listens	Hours
48h	8	1
7d	13	1
30d	45	6

Playback	Listens	Hours
48h	4	17m
7d	19	2
30d	139	19

Playback	Listens	Hours
48h	35	3
7d	58	5
30d	622	52

Playback	Listens	Hours
48h	25	2
7d	133	11
30d	1.1k	95

Playback	Listens	Hours
48h	35	3
7d	81	8
30d	611	65

Playback	Listens	Hours
48h	105	12
7d	428	51
30d	1.9k	251

Playback	Listens	Hours
48h	84	15
7d	63	12
30d	487	86

Playback	Listens	Hours
48h	53	5
7d	163	16
30d	1.4k	131

Playback	Listens	Hours
48h	15	4
7d	47	9
30d	255	58

Playback	Listens	Hours
48h	107	12
7d	100	13
30d	1.1k	131

Playback	Listens	Hours
48h	35	4
7d	14	2
30d	113	12

Playback	Listens	Hours
48h	80	9
7d	356	45
30d	1.8k	220

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	28	1

Playback	Listens	Hours
48h	16	2
7d	102	12
30d	538	68

Playback	Listens	Hours
48h	14	2
7d	6	1
30d	52	10

Playback	Listens	Hours
48h	14	1
7d	21	2
30d	218	26

Playback	Listens	Hours
48h	1	13m
7d	5	28m
30d	96	12

Playback	Listens	Hours
48h	10	2
7d	71	9
30d	625	87

Playback	Listens	Hours
48h	66	9
7d	285	38
30d	2.1k	278

Playback	Listens	Hours
48h	6.2k	615
7d	13.2k	1.3k
30d	96.5k	9.8k

Playback	Listens	Hours
48h	73	5
7d	344	26
30d	2.1k	153

Playback	Listens	Hours
48h	22	2
7d	55	5
30d	238	23

Playback	Listens	Hours
48h	155	17
7d	234	24
30d	2.1k	221

Playback	Listens	Hours
48h	321	41
7d	1.1k	137
30d	7.2k	948

Playback	Listens	Hours
48h	10	2
7d	0	0m
30d	16	5

Playback	Listens	Hours
48h	6	1
7d	0	0m
30d	0	0m

Playback	Listens	Hours
48h	75	12
7d	188	28
30d	860	143

Playback	Listens	Hours
48h	16	2
7d	8	41m
30d	156	17

Playback	Listens	Hours
48h	85	8
7d	72	8
30d	826	78

Playback	Listens	Hours
48h	67	7
7d	35	3
30d	650	69

Playback	Listens	Hours
48h	42	2
7d	57	3
30d	677	37

Playback	Listens	Hours
48h	108	15
7d	87	12
30d	532	68

Playback	Listens	Hours
48h	34	3
7d	205	13
30d	501	33

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	0	0m

Playback	Listens	Hours
48h	0	0m
7d	4	42m
30d	16	2

Playback	Listens	Hours
48h	0	0m
7d	2	5m
30d	16	2

Playback	Listens	Hours
48h	108	20
7d	230	48
30d	1.6k	319

Playback	Listens	Hours
48h	21	4
7d	64	11
30d	356	66

Playback	Listens	Hours
48h	18	2
7d	91	8
30d	614	51

Playback	Listens	Hours
48h	22	3
7d	168	23
30d	632	88

Playback	Listens	Hours
48h	409	57
7d	599	93
30d	4k	598

Playback	Listens	Hours
48h	246	34
7d	887	115
30d	6.3k	839

Playback	Listens	Hours
48h	0	0m
7d	2	32m
30d	24	5

Playback	Listens	Hours
48h	38	5
7d	31	3
30d	360	37

3:20:07

SBD

Rating:

8.80 / 11 ratings

Transferrer:

Jay Serafin

SHNID:

gd1972-08-27.sbd.serafin.8045.sbefail.shnf

Source:

(SET I and II) SBD > Re-Mixed Master RTR > DAT > SSSB. (SET III) SBD > Re-Mixed Master RTR > PCM (via analog inputs and outputs) > DAT > SSSB

Taper Notes:

View NotesJAY'S PERSONAL COMMENTS:

I have to say this was probably one of the most difficult shows I ever had to work on... EVER!  Many reasons for this are able to be disclosed (which they will be), but some are verified confidential information which came from my Marin County source who sent me the best possible masters for this show.

Set I and II:  Due to the tape reels being plastic, rather than the usual metal type, when the tapes were archived to PCM, there were static problems which occurred due to the ambient electrical charges which occur when tape reels are fast forwarded and fast rewound to "loosen up" the tape.  The static discharged through the tape layers, rather than through the metal reels, so the audio wound up becoming filled with little "pops, ticks, and crackles" throughout a lot of the layers of tape.

To eliminate these very annoying (and very audible!) noises, I had to MANUALLY do and edit them out.  Close to 3,000 total edits were performed for Set I and almost 2,500 edits for this same problem for Set II.  This is why it took close to 8 weeks of work to get this show completed.  Of course, I was working on other shows as well, but 90% of the time spent on this wonderful show was on literally looking at every second of audio, scrolling slowly forward, to find these problems.  It would have been "nicer" if the static pops were almost identical in their waveform, as I could have had the editing software find them for me, and I would just edit them out.  But, they varied to much in the way they appeared in the audio, that there was no "automatic" way to find these little buggers.  I spent close to 120 hours on finding these items, but then I was done, I only had to "eliminate" less than 45 total seconds from the entire show, due to my not being able to correct the static noise by simply removing the offending part of the sample (each static "pop" was approximately 0.00025 seconds in length, so just eliminating the deformed part of the waveform too very little time away from the entire show), but having to eliminate an entire sample or part of a waveform (about 0.001 seconds in length).  But the elimination of these annoying parts did not affect the way the end result audio sounds.  There's no "stuttering" or noticeable missing audio.  By performing the editing the way I did, it eliminated all of this "unwanted perverting" of the audio.  There are only a few very minor pops left, which could not be eliminated without affecting the audio as a whole, so I simply lowered the volume of the offending noise, so it's just barely perceptible.  With the usual amount of original RTR analog tape hiss from the decks being used at the slow speed, plus the analog transfer of the RTR > PCM (they did not do it in the digital domain for reasons I cannot divulge here), there was a fair amount of hiss throughout Sets I and II.  I was able to reduce the amount by more than 85%, but there is still a very slight amount of hiss left, which is only noticeable during the between-song lulls, tunings, and the stage announcement, and ONLY if you have your audio cranked up REALLY HIGH!  The amount of hiss I was able to remove, without affecting the audio, was so "massive", there were parts of the between song lulls where the band members were talking amongst themselves, etc., and that could not be heard at all, due to the original hiss.  Now, you are able to hear EVERYTHING that was originally fed into the RTR decks!

Set III:  This came from a totally different set of archive tapes, which had more underlying hiss to them (due to the extra PCM transfer in the lineage), but the overall audio was better them most of the versions out there.  So, even more noise reduction using different techniques, was used, and the result was close (and to a slight degree, even better than the Set I/II reduction!).  There was a point, beginning with "Sing Me Back Home", where you could hear that someone did some adjustment to the RTR deck, and this hiss rose dramatically from that point to the end of the show.  So, not only was I faced with a "different" type of hiss, I had to now "match" the EQ curve of the audio to anything prior to that song!  It was a lot of work, but it was also a lot of fun, as this was one of my most challenging releases of a show I had ever attempted.

Overall, there is a LOT more total show audio than in almost all of the versions in circulation.  Close to 10 minutes of "additional material" is in this release.

To perform all of the special static noise, I had to revert to converting the show from it's usual 16-bit/48.0 kHz data rate to the highest rates my software, sound card, and digital mixer can handle, which is 32-bit / 192 kHz sampling rate!  This is better than DVD's audio, which is 24-bit/96 kHz sampling.  But I needed to see more of the waveform, and to be able to manipulate the waveforms in such a precise manner.  When I "down-converted" the audio to the standard for CD's, which is 16-bit / 44.1 kHz, I was able to move the quantization noise up into the 20 kHz range, which is well past the point if human hearing.  Also, since this show contained very little in the way of high levels of audio above 14 kHz, it did not affect the "harmonics" and the subtle nuances which a lot of people would hear up in the 18-20 kHz audio range with a lot of music.  So, everyone will hear all of the audio just as is was recorded onto the RTR decks, only with a much cleaner sound.  I had to perform very little in the way of "trimming" of the show's audio for the reel flips and the PCM tape changes.  From my editing notes, I was able to remove just under 50 total seconds of total show audio to perform the necessary crossfades. This is the best I could do with the masters I received, and I hope that everyone is happy with the results.  I certainly was, and I am never totally happy with my "final release" versions of any show I've ever worked on!


Uploaded exclusively to GDLive.com by:
John "Jay" Serafin, owner/audio engineer @ Serafin Station Studio B
"Making Kindness Dubs For Everyone!"
No Profits Or Copyright Infringements EVER!
Web Info: http://members.home.com/kinddubs
E-Mail: kinddubs@home.com