Goin' Down The Road Feelin' Bad \> | 1981-12-31 | Grateful Dead

413

Playback	Listens	Hours
48h	21	3
7d	111	14
30d	413	53

7:38:41

20 tapes

12/30SBD

Playback	Listens	Hours
48h	0	0m
7d	1	4m
30d	44	4

2:51:35

12/28SBD

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	90	10

2:42:56

13 tapes

12/27SBD

115

Playback	Listens	Hours
48h	8	55m
7d	12	2
30d	115	15

2:45:44

12 tapes

12/26SBD

132

Playback	Listens	Hours
48h	7	52m
7d	11	2
30d	132	18

3:00:44

Fiesta Hall, San Mateo County Fairgrounds

12/12SBD

San Mateo, CA, USA

Playback	Listens	Hours
48h	1	7m
7d	1	7m
30d	56	5

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	33	4

1:27:53

2 tapes

12/09SBD

Events Center, U. of Colorado

Boulder, CO, USA

332

Playback	Listens	Hours
48h	2	13m
7d	25	4
30d	332	42

6:06:35

12/07SBD

Des Moines Civic Center

Des Moines, IA, USA

146

Playback	Listens	Hours
48h	0	0m
7d	11	1
30d	146	16

Playback	Listens	Hours
48h	2	14m
7d	0	0m
30d	82	11

Indianapolis, IN, USA

209

Playback	Listens	Hours
48h	19	2
7d	21	2
30d	209	25

Playback	Listens	Hours
48h	3	22m
7d	60	7
30d	246	31

2:56:21

Assembly Hall, U. of Illinois

12/02SBD

Champaign, IL, USA

Playback	Listens	Hours
48h	31	3
7d	30	4
30d	98	12

Playback	Listens	Hours
48h	33	4
7d	94	12
30d	460	62

Playback	Listens	Hours
48h	0	0m
7d	31	4
30d	155	21

Playback	Listens	Hours
48h	1	7m
7d	1	7m
30d	9	58m

Playback	Listens	Hours
48h	38	5
7d	47	6
30d	417	56

Playback	Listens	Hours
48h	0	0m
7d	67	9
30d	312	42

Amsterdam, Netherlands

267

Playback	Listens	Hours
48h	39	4
7d	44	4
30d	267	26

Amsterdam, Netherlands

Playback	Listens	Hours
48h	8	49m
7d	9	1
30d	80	8

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	101	12

Playback	Listens	Hours
48h	13	2
7d	16	2
30d	141	16

Amsterdam, Netherlands

Playback	Listens	Hours
48h	2	11m
7d	2	11m
30d	25	2

Playback	Listens	Hours
48h	6	46m
7d	13	2
30d	77	10

Playback	Listens	Hours
48h	47	6
7d	57	8
30d	136	19

Playback	Listens	Hours
48h	3	20m
7d	3	22m
30d	86	11

Playback	Listens	Hours
48h	46	6
7d	112	14
30d	345	44

Playback	Listens	Hours
48h	5	26m
7d	7	57m
30d	132	17

Playback	Listens	Hours
48h	0	0m
7d	0	0m
30d	168	21

Playback	Listens	Hours
48h	0	0m
7d	12	2
30d	80	11

Playback	Listens	Hours
48h	28	3
7d	18	2
30d	147	17

2:37:48

5 tapes

9/26SBD

War Memorial Auditorium

Buffalo, NY, USA

275

Playback	Listens	Hours
48h	22	2
7d	26	3
30d	275	31

2:33:29

Compton Terrace Amphitheatre

9/25SBD

Stabler Arena, Lehigh U.

Bethlehem, PA, USA

254

Playback	Listens	Hours
48h	3	25m
7d	15	2
30d	254	30

Playback	Listens	Hours
48h	2	13m
7d	14	2
30d	228	27

Playback	Listens	Hours
48h	88	14
7d	64	11
30d	405	73

Playback	Listens	Hours
48h	36	5
7d	40	5
30d	313	38

Playback	Listens	Hours
48h	1	12m
7d	13	2
30d	170	23

3:05:00

11 tapes

8/30SBD

Tempe, AZ, USA

Playback	Listens	Hours
48h	1	4m
7d	0	0m
30d	96	12

Playback	Listens	Hours
48h	27	4
7d	44	6
30d	407	55

Playback	Listens	Hours
48h	7	1
7d	5	41m
30d	112	15

2:49:23

6 tapes

8/16SBD

McArthur Court, U. of Oregon

Eugene, OR, USA

148

Playback	Listens	Hours
48h	2	18m
7d	8	58m
30d	148	18

2:36:13

7 tapes

8/15

Portland Memorial Coliseum

Portland, OR, USA

Playback	Listens	Hours
48h	1	13m
7d	0	0m
30d	44	6

2:42:04

2 tapes

8/14

Seattle Center Coliseum

Seattle, WA, USA

Playback	Listens	Hours
48h	0	0m
7d	10	1
30d	94	10

Salt Lake City, UT, USA

208

Playback	Listens	Hours
48h	2	21m
7d	3	25m
30d	208	24

3:00:43

McArthur Court, University Of Oregon

8/06SBD

Eugene, OR

Playback	Listens	Hours
48h	0	0m
7d	4	29m
30d	89	11

2:38:05

1 tape

7/14

McNichols Sports Arena

Denver, CO, USA

Playback	Listens	Hours
48h	0	0m
7d	2	17m
30d	19	3

3:05:13

5 tapes

7/13SBD

McNichols Sports Arena

Denver, CO, USA

141

Playback	Listens	Hours
48h	6	52m
7d	0	0m
30d	141	19

2:42:10

Alpine Valley Music Theatre

7/11SBD

East Troy, WI, USA

Playback	Listens	Hours
48h	0	0m
7d	9	1
30d	68	9

2:52:10

7 tapes

7/10

St. Paul Civic Center

St. Paul, MN, USA

142

Playback	Listens	Hours
48h	41	5
7d	9	1
30d	142	16

Playback	Listens	Hours
48h	31	3
7d	12	1
30d	169	19

2:47:11

6 tapes

7/07SBD

Kansas City Municipal Auditorium Arena

Kansas City, MO, USA

339

Playback	Listens	Hours
48h	2	21m
7d	15	2
30d	339	37

Oklahoma City, OK, USA

247

Playback	Listens	Hours
48h	12	1
7d	65	8
30d	247	31

Playback	Listens	Hours
48h	32	4
7d	82	10
30d	406	50

Playback	Listens	Hours
48h	0	0m
7d	1	6m
30d	99	11

San Francisco, CA, USA

Playback	Listens	Hours
48h	8	45m
7d	0	0m
30d	79	7

1:14:07

4 tapes

5/17SBD

Onondaga County War Memorial

Syracuse, NY, USA

Playback	Listens	Hours
48h	2	14m
7d	2	14m
30d	93	12

3:00:18

Barton Hall, Cornell University

5/16SBD

Ithaca, NY, USA

826

Playback	Listens	Hours
48h	91	12
7d	76	9
30d	826	103

5:45:53

14 tapes

5/15SBD

Athletic Center, Rutgers U

New Brunswick, NJ, USA

141

Playback	Listens	Hours
48h	28	4
7d	9	1
30d	141	19

2:55:55

8 tapes

5/13SBD

Providence Civic Center

Providence, RI, USA

226

Playback	Listens	Hours
48h	25	3
7d	19	2
30d	226	28

2:43:06

16 tapes

5/12SBD

Veterans Memorial Coliseum

New Haven, CT, USA

269

Playback	Listens	Hours
48h	17	2
7d	66	8
30d	269	35

2:59:53

18 tapes

5/11SBD

Veterans Memorial Coliseum

New Haven, CT, USA

499

Playback	Listens	Hours
48h	17	2
7d	42	6
30d	499	65

Playback	Listens	Hours
48h	2	20m
7d	21	3
30d	394	52

Playback	Listens	Hours
48h	3	20m
7d	22	3
30d	362	51

Playback	Listens	Hours
48h	7	34m
7d	3	15m
30d	29	3

Playback	Listens	Hours
48h	13	2
7d	1	4m
30d	371	49

2:58:28

15 tapes

5/05SBD

Glenns Falls Civic Center

Glenns Falls, NY, USA

227

Playback	Listens	Hours
48h	16	3
7d	45	6
30d	227	31

Philadelphia, PA, USA

238

Playback	Listens	Hours
48h	0	0m
7d	11	1
30d	238	26

Philadelphia, PA, USA

352

Playback	Listens	Hours
48h	0	0m
7d	23	3
30d	352	48

Playback	Listens	Hours
48h	100	13
7d	199	26
30d	1.1k	139

Playback	Listens	Hours
48h	46	5
7d	71	8
30d	315	38

Playback	Listens	Hours
48h	42	3
7d	34	3
30d	159	12

Playback	Listens	Hours
48h	144	20
7d	454	64
30d	1.5k	211

Playback	Listens	Hours
48h	0	0m
7d	34	5
30d	268	38

Playback	Listens	Hours
48h	16	2
7d	28	4
30d	1.7k	228

Playback	Listens	Hours
48h	160	20
7d	263	32
30d	5.2k	657

Playback	Listens	Hours
48h	75	8
7d	122	13
30d	5.7k	592

3:01:07

Veterans' Memorial Coliseum

3/14SBD

Hartford, CT, USA

5.1k

Playback	Listens	Hours
48h	101	12
7d	101	12
30d	5.1k	585

2:49:00

18 tapes

3/13SBD

Utica Memorial Auditorium

Utica, NY, USA

6.1k

Playback	Listens	Hours
48h	23	3
7d	24	3
30d	6.1k	844

Playback	Listens	Hours
48h	42	6
7d	57	8
30d	6.9k	928

2:43:32

11 tapes

3/10SBD

Madison Square Garden

New York, NY, USA

11.2k

Playback	Listens	Hours
48h	31	4
7d	95	14
30d	11.2k	1.5k

3:01:43

15 tapes

3/09SBD

Madison Square Garden

New York, NY, USA

13.3k

Playback	Listens	Hours
48h	152	21
7d	208	28
30d	13.3k	1.8k

6:05:22

13 tapes

3/07SBD

Cole Field House, U. of Maryland

College Park, MD, USA

9.4k

Playback	Listens	Hours
48h	51	6
7d	102	11
30d	9.4k	1.1k

Playback	Listens	Hours
48h	42	6
7d	68	9
30d	1.6k	253

Playback	Listens	Hours
48h	12	2
7d	81	11
30d	447	66

Playback	Listens	Hours
48h	27	2
7d	58	5
30d	300	25

Playback	Listens	Hours
48h	53	7
7d	188	24
30d	1k	140

Playback	Listens	Hours
48h	125	15
7d	191	23
30d	1.1k	132

Playback	Listens	Hours
48h	36	4
7d	93	12
30d	798	102

Playback	Listens	Hours
48h	65	9
7d	75	11
30d	702	97

Playback	Listens	Hours
48h	25	3
7d	83	12
30d	1.2k	160

Playback	Listens	Hours
48h	19	1
7d	24	2
30d	390	30

1:16:35

2 tapes

Sources

Taper: Dan Healy and Joani Walker

4:08:04

SBD

Taper:

Dan Healy and Joani Walker

Scott Clugston and Charlie Miller and Paul Scotton

gd1981-12-31.143571.sbd.healy.walker.scotton.miller.clugston.flac2496

Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B)(TDK MA-R C90)

Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496

Dan Healy and Joani Walker

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the master soundboard cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Joan Baez acoustic set with The Grateful Dead
- Thanks to Joani Walker, Paul Scotton and Charlie Miller for the shnid96106 soundboard source which supplies a 0:12 patch in "Terrapin Station"
- Thanks to Mark Severson for the shnid96611 Nakamichi 700 source which supplies a 0:08 patch in "Goin' Down The Road Feeling Bad"
- "CC Rider", "Big Boss Man", "New Minglewood Blues" and "Iko Iko" with Matthew Kelly
- "It Must Have Been The Roses", "Beat It On Down The Line", "Don't Ease Me In" and "It's All Over Now,Baby Blue" with Joan Baez
- "The Other One > Not Fade Away > Going Down The Road Feeling Bad" with John Cippolina
- Other One space included in "The Other One"
- Thanks to Joe B. Jones for verifying the pitch

Mastered by Scott Clugston
October 2018

Taper: Dan Healy and Joani Walker

Scott Clugston and Charlie Miller and Paul Scotton

gd1981-12-31.143570.sbd.healy.walker.scotton.miller.clugston.flac1648

Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B)(TDK MA-R C90)

Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496

gd1981-12-31.mtx.tobin.126611.flac16

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the master soundboard cassette source
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Joan Baez acoustic set with The Grateful Dead
- Thanks to Joani Walker, Paul Scotton and Charlie Miller for the shnid96106 soundboard source which supplies a 0:12 patch in "Terrapin Station"
- Thanks to Mark Severson for the shnid96611 Nakamichi 700 source which supplies a 0:08 patch in "Goin' Down The Road Feeling Bad"
- "CC Rider", "Big Boss Man", "New Minglewood Blues" and "Iko Iko" with Matthew Kelly
- "It Must Have Been The Roses", "Beat It On Down The Line", "Don't Ease Me In" and "It's All Over Now,Baby Blue" with Joan Baez
- "The Other One > Not Fade Away > Going Down The Road Feeling Bad" with John Cippolina
- Other One space included in "The Other One"
- Thanks to Joe B. Jones for verifying the pitch

Mastered by Scott Clugston
October 2018

Transferrer: Kevin Tobin

Matrix 3 Source Mix - SBD (shnid=96107) flac24; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90) Transfer Info: Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24; All Transfers and Mastering By Charlie Miller + AUD (shn id 96611)

Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. + VID (no shn id) low generation video found on the internet for a video project - matrix mixing by Kevin Tobin

Joani Walker and Paul Scotton

View NotesSBD + AUD Matrix 3 Source Mix(48%-SBD/52%-AUD)

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 03-JAN-2014 - Trader Little Helper
- Tagged 03-JAN-2014 - Tag&Rename
---------------------------------------------------------
Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -0.5
AUD 0

SET TWO

Stereo Matrix
SBD -0.5
AUD 0
---------------------------------------------------------
BHP note: Both audio sources were very close to the video and only minor patching was needed mostly between songs in the first set. I also trimmed a little "Dead Air" between some of the songs so that the show could fit properly on a DVD.

Brokedown House Production

Taper: Joani Walker and Paul Scotton

gd1981-12-31.sbd.fix.walker-scottor.miller.96107.flac24

SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90)

Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24

Joani Walkerand Paul Scotton

View NotesPatch Info:
(FOB) Nakamichi 100 -> Cassette Master -> Cassette (shnid=85628) supplies:
Terrapin Station (12:47 - 13:03)
Goin' Down The Road Feeling Bad (6:54 - 7:01)

Notes:
-- This has fixed levels on s3t02, s3t03 and s3t04
-- Joan Baez is backed by The Grateful Dead during her acoustic set
-- C C Rider, Big Boss Man, Minglewood and Iko with Matthew Kelly
-- Roses, BIODTL, Don't Ease Me In and Baby Blue with Joan Baez
-- The Other One, Not Fade Away and GDTRFB with John Cippolina
-- This is an upgrade to all previous circulating copies
-- Patch source was EQ'd and pitch corrected
-- Thanks to Joani Walker and Paul Scotton for the tapes
-- Thanks to Joe B. Jones for his help with the pitch correction
Joan Baez Acoustic Set:
s1t01 - Land Of A Thousand Dances
s1t02 - Do Right Woman
s1t03 - The Boxer
s1t04 - Tunisian New Year Song
s1t05 - Me

Taper: Joani Walkerand Paul Scotton

gd1981-12-31.sbd.fix.walker-scotton.miller.96106.sbeok.flac16

Joani Walker and Paul Scotton

View NotesPatch Info:
(FOB) Nakamichi 100 -> Cassette Master -> Cassette (shnid=85628) supplies:
Terrapin Station (12:47 - 13:03)
Goin' Down The Road Feeling Bad (6:54 - 7:01)

Notes:
-- This has fixed levels on d3t02, d3t03 and d3t04
-- All sets are seamless
-- Joan Baez is backed by The Grateful Dead during her acoustic set
-- C C Rider, Big Boss Man, Minglewood and Iko with Matthew Kelly
-- Roses, BIODTL, Don't Ease Me In and Baby Blue with Joan Baez
-- The Other One, Not Fade Away and GDTRFB with John Cippolina
-- This is an upgrade to all previous circulating copies
-- Patch source was EQ'd and pitch corrected
-- Thanks to Joani Walker and Paul Scotton for the tapes
-- Thanks to Joe B. Jones for his help with the pitch correction
Joan Baez Acoustic Set:
d1t01 - Land Of A Thousand Dances
d1t02 - Do Right Woman
d1t03 - The Boxer
d1t04 - Tunisian New Year Song
d1t05 - Me

Taper: Joani Walker and Paul Scotton

gd1981-12-31.sbd.walker.scotton.miller.96090.flac24

SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90)

Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24

Joani Walker and Paul Scotton

View NotesPatch Info:
(FOB) Nakamichi 100 -> Cassette Master -> Cassette (shnid=85628) supplies:
Terrapin Station (12:47 - 13:03)
Goin' Down The Road Feeling Bad (6:54 - 7:01)

Notes:
-- Joan Baez is backed by The Grateful Dead during her acoustic set
-- C C Rider, Big Boss Man, Minglewood and Iko with Matthew Kelly
-- Roses, BIODTL, Don't Ease Me In and Baby Blue with Joan Baez
-- The Other One, Not Fade Away and GDTRFB with John Cippolina
-- This is an upgrade to all previous circulating copies
-- Patch source was EQ'd and pitch corrected
-- Thanks to Joani Walker and Paul Scotton for the tapes
-- Thanks to Joe B. Jones for his help with the pitch correction
Joan Baez Acoustic Set:
s1t01 - Land Of A Thousand Dances
s1t02 - Do Right Woman
s1t03 - The Boxer
s1t04 - Tunisian New Year Song
s1t05 - Me

Taper: Joani Walker and Paul Scotton

gd1981-12-31.sbd.walker-scotton.miller.96082.sbeok.flac16

SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90)

Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/16

gd1981-12-31.143774.mtx.tobin.flac1644

View NotesPatch Info:
(FOB) Nakamichi 100 -> Cassette Master -> Cassette (shnid=85628) supplies:
Terrapin Station (12:47 - 13:03)
Goin' Down The Road Feeling Bad (6:54 - 7:01)

Notes:
-- All sets are seamless
-- Joan Baez is backed by The Grateful Dead during her acoustic set
-- C C Rider, Big Boss Man, Minglewood and Iko with Matthew Kelly
-- Roses, BIODTL, Don't Ease Me In and Baby Blue with Joan Baez
-- The Other One, Not Fade Away and GDTRFB with John Cippolina
-- This is an upgrade to all previous circulating copies
-- Patch source was EQ'd and pitch corrected
-- Thanks to Joani Walker and Paul Scotton for the tapes
-- Thanks to Joe B. Jones for his help with the pitch correction

Transferrer: Kevin Tobin

SBD + AUD Matrix 2 Source Mix (44/16)

gd1981-12-31.sbd.gans.33660.sbeok.flac16

View Notes---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 18-NOV-2018 - Trader Little Helper
- Tagged 18-NOV-2018 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Transferrer: David Gans

SBD -> Cassette Master (Dolby B)

Cassette Master (Dolby B) -> Sonic 24bit -> SBM2 -> CD -> EAC -> FLAC

View Notes-- Thanks to Joani Walker and Paul Scotton for the tapes

Source 10 of 20

Master reels->cass->DAT

DAT->CD-R->EAC(x2 w/wav compare)->shn

gd81-12-31.acoustic.warren.14040.sbefail.shnf

View NotesJoan Baez sits in on the acoustic set (disc 1) and the Baby Blue encore.
Matt Kelly sits in on Big Boss Man and New Minglewood Blues.
John Cipollina sits in post-drums on disc 3.
Bill Graham flies in on a joint at midnight.

Source 11 of 20

Soundboard

SBD > MR > CASS > DAT > CDR > EAC > SHN

gd81-12-31.sbd.bertha-ashley.12784.sbeok.shnf

View NotesAcoustic set only (w/ Joan Baez); SBD > MR > CASS > DAT > CDR > EAC > SHN via Chris Warren

Source 12 of 20

Soundboard

SBD> MR> PCM> DAT> CDR> SHN> DAW (Bertha)> CDA

gd1981-12-31.msbd.serafin.7041.sbefail.shnf

View NotesJay Ashley (Bertha) remaster of Jay Serafin's <a href="http://db.etree.org/shninfo_detail.php?shnid=7041" rel="ugc nofollow">4 TRACK RTR</a> source; SBD> MR> PCM> DAT> CDR> SHN> DAW(Bertha)> CDA; Note- Joan Baez set missing

Transferrer: Jay Serafin

SBD > 4 track RTR @ 7.5 i.p.s. monitor mix > 16-bit PCM GD Archive > SSSB

View NotesRELEASED ON:	11/22/01

LINEAGE: Monitor Mix SBD > 4 TRACK RTR @ 7.5 IPS (Dolby B) > PCM  > D > SSSB (Dolby B decoded); NRPS opened; *=w/Joan Baez; **=w/Matt Kelly; ***=w/John Cippolina; Bill Graham flies in on a giant joint; LAST "Dark Star": 01-20-79 [232]; any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction, jitter elimination, EQ, and quantization noise elimination (when down-converting audio to 16-bit / 44.1kHz for CD-R mastering), were all performed using 24-bit / 96 kHz digital realm processing at Serafin Station Studio B [this show was released 11/01]

JAY'S PERSONAL COMMENTS:

NOTE: This is NOT the version of the show which is in circulation now; that copy is the "regular SBD" mix, while this version is the Monitor Mix version (differences in mix and volume for each instrument and vocalist).  This information was verified by my Marin County source, who sent me this version to work on and release.

It was told to me, by my Marin County source, that Phil wanted each band member to hear how the slightly different way they played a lot of the electric songs actually sounded, and then it would be decided whether to keep playing them in this manner, revert back to the "old ways", or to try a different approach.  You can hear this on the "staggered chorus vocals" on Shakedown Street, the opening of Me & My Uncle, CR&S, Playin' In The Band (the opening is distinctly "old school"), as is Dark Star), etc.  You'll notice that the vocals are slightly more prominent in the mix, as well as they're "dry"... no reverb, delay, etc., and no compression/limiting, so you'll hear it when Jerry (especially) and Bobby back off from their microphones a little bit, or go off their "pickup axis"... their voices kind of trail off slightly.  It's more realistic that hearing them at their C&L form, as you can mentally picture Jerry moving back slightly when he's ending a line in a sing.  The kick drums, and some of the toms, aren't as much in the mix either, as they could be hear more by the musicians on stage naturally, and didn't need to be in the mix as much.  You can hear, on Disc 1 Track 6, where the sound crew started to put the effects onto Jerry's vocals, but they got the "wave off", and stopped it.  So, you can hear what the "normal mix" would have been, compared to this monitor mix.  You'll also hear some of the levels of the instruments being raised and lowered, slightly and slowly, as not to be abrupt and annoying.

The Ken Kesey opening of Electric Set II (Countdown to Midnight) has Ken really, and literally, freaking out on stage when the band begins to play BEFORE the stroke of midnight!  Ken's trying to tell the "You're starting too soon", but to no avail. This isn't a "knock" on Ken, but simply an example of how he was on stage sometimes. And it was the day Ken dies is when I was working on that part of the show... the master had a LOT of volume problems (cycling up and down), and I was having a very tough time getting the parts to match up without having to delete a lot of the Countdown (only 15 seconds were lost, due to the mixing console getting knocked out of whack).  But when Ken died, it was almost like he was "guiding me", and the solutions came to me so clearly, it was unreal.  Personally, I do think that Ken had his hand in me getting the Countdown correct.  Thanks, my friend!

The BAD NEWS: The Acoustic Set was not being on the masters I received from my MC source. The good news is that all 3 of the Electric Sets are complete. The encore is from the regular SBD mix, and as such, has a slightly different audio difference. I did make every attempt to match the encore's EQ curve to that of the show itself, with very good results.  Only 2 reel changes were needed in this recording, and they were during lulls or very low-volume sections of the show. Only one cross-fade, which was between songs, is evident, as I didn't have a lot of "working room" to do a longer cross-fade.  This is the end of Good Lovin' into the Encore.  But, it was better than the original, and is the best I could do.  

The RTR (especially the Encore, which was quite noisy) was a bit on the hissy side, even with the Dolby B (or because of it, take your pick!).  The hiss has been brought down to "damn near inaudible", and it's only the opening couple of seconds of Dark Star where you actually can hear the hiss in the audio.  So, this is a VERY CLEAN show, audio-wise, and very energetic to boot.

Ok... on with the "Set by Set" breakdown of the show:
The opener, Shakedown Street, is LONG!  Very refreshing to hear an extended set of solos, and it set the tone for the remainder of the night.  Close to 16 minutes, it's rockin' and smokin' from the first chord.  I really liked the "staggered chorus vocals" towards the end of the song.   It's hard to explain in words, but you'll hear it... similar to how a group of people would sing "Row, Row, Row Your Boat").  This was one of those "new ways" ideas of Phil's, it was new to me, and I thought it gave the song that little extra touch...  it took the usually "monotonous" way the 3 vocalists would do the chorus, and made it sound "brand new" again.  An "old time" opening to Me & My Uncle > Mexicali was nice to hear.  Reminiscent of the early '70's "C&W Style" the Boyz did a lot of their songs in.  Again, not disappointing at all.

Cold Rain & Snow, sort of the same "older opening", and again, nice on the ears.  Big Boss Man -> Minglewood was a nicely staged segue.  Well done, and on the unusual side.  Don't Ease Me In had NOT segue to it, which was NOT ordinary.

Onto Set II...
The Ken Kesey opening had quite a lot of SBD problems, as the audio was constantly fluctuating feeding the RTR deck.  That was all edited out, rather than trying to alter the volume, as there was simply too much to do (and to make it sound right, as there were audible effects changes going on).  About 30 seconds of this opening track were edited out, and only a couple of Ken's words wound up "on the cutting room floor".  A very "Space-oriented" early Countdown To Midnight started early, and Ken simply was in a panic.  I could picture him running around the stage trying to keep everyone from starting the song!  The band, by my calculations, started Aiko about 25 seconds too early... oh well, that's life in a live show.  Aiko had nothing special to offer, in my opinion, just a slight party feel to it.  Playin' In The Band, well it was too short for my personal taste.  They went into the Playin' Jam after just 3 minutes into the song.  But it was a GOOD and HOT Jam, a bit over 11 minutes.  The PITB Jam into Terrapin was nice, with Bobby leading the segue, not Jerry.  Jerry was on the mark for his solos and riffs in Terrapin, and the audience was not left "wanting" at all.  A good and smooth segue back into Playin' (again, 3 minutes!) was just wonderful.  The band started to drift off going into Drums (which starts on Disc 3), so there was almost silence, so real segue.  You can hear the instruments being unplugged before Mickey and Billy got their groove on.

Drums began with the audience ambience microphones turned on, and there was a very noticeable jump in the volume.  This was a good place to start Disc 3, since there weren't any other members playing their instruments at the time.  Drums is slightly "overloaded", because of the levels of the up front monitors kept feeding into the percussion mics, and the audience ambience just added to this.  So, on the very low-frequency sections of Drums, there's noticeable (albeit slight) distortion.  It detracts from the enjoyment a little, but there's nothing I could do about this.  The ambience mikes were lowered down once Space began, and by the time Space was over, they were only slightly on.  This is the opposite of what was going on before Drums, where I believe the ambience mikes were totally turned off.

In keeping with this "new style" tryout, TOO wasn't set off with the usual Phil riff, but more of a subtle opening.  I wasn't upset with this, but it did surprise me, especially with it being New Year's Eve.  I wanted to hear a good, resounding Phil riff and a couple of Phil Bombs thrown in for good measure, but all of us were denied this.  Ah, such is life.  The remainder of Electric Set II, which was TOO > NFA > GDTRFB > Morning Dew (great energy, and very good "dynamics") were not disappointing.  These were mostly their current forms of the songs, so I need not go into details of these songs.

A slight break (I believe it was about 15 minutes) took place, and the Dead set up for the 3rd electric set.  And we would not be denied for good music.

SET III:
I had to keep looking (literally!) at my editing sheets to remind myself of the year... Dark Star's keyboards were almost identical to the typical Keith riffs and fills, except that it was Brent on the electric piano.  This 14+ minute song was a dream!  You could picture Keith playing, rather than Brent, and Jerry was just letting it rip.  Hard on the vocals, well done with his solos and fills, he spanned his repertoire of playing.  The verses were short, leaving the audience a lot of music to absorb.  This is a Dark Star which you want to play over and over again, as it was a 1970's style version.  Well received (remember, the audience mikes were still on slightly!) and very much enjoyed, the audience had to be disappointed to hear it end.

The DS > Bertha segue was SHORT... and I mean THREE MEASURES SHORT!  No, this wasn't a tape splice, this is how it was.  And because of the lack of compression and limiting, Jerry was really belting out the vocals, and I was in heaven.  Damn, this man could sing when he wanted to, and this Bertha is one of my all-time favorites!

Upon first (and maybe 2nd or 3rd) listening, you would think that I started Track 3 (Good Lovin') way too soon.  But the GL riffs were in there, buried in the rest of the music.  So, I start the songs where the actual song becomes apparent, not from any "teaser".  Bobby, worn and weary from this night, mustered up his energy and did a Pigpen-energy Good Lovin'.  Weir was not going to leave the audience disappointed, and he dished up this song in high-octane-Dead style.

The most unusual thing about the Electric sets: NOT A SINGLE BRENT SONG.  Those of you who are Brent fans are going to be disappointed that all you get are his backup vocals (which were very good), and his style of playing that night (which was VERY good).  I don't know why it was this way, but since I haven't heard the Acoustic opening set at all, I don't know how much Mydland contributed in that set.

Now comes the "downer of the night".  Probably the most disappointing Baby Blue I have ever been graced with listening to.  I'm sorry if this offends anyone, but the combo of Jerry and Joan Baez DOES NOT WORK.  Here's a man who keeps his vocals short and sweet, and a folk singer who stretches out each word in that (sometimes unbearable) falsetto/vibrato voice of hers.  Picture in your mind the worse Donna/Jerry vocal duet, multiply it by about 500, and that's the Baby Blue for the closer.  It simply didn't work.  My mind kept telling me to leave the song out, and just lie about it not being in the masters I got, but my Marin County source would be a little upset (my source doesn't tell me how to write my comments, I'm just given information I would have not known by listening to the show) if the entire show wasn't released.  My personal feeling: just end your listening of this great show before the encore starts.

All I can say about this show:  very 70's style in many ways, high energy, Kesey was being Kesey, and the Dead did not disappoint the audience that night.  It's a wonderful NYE show in many ways, and I hope you enjoy it as much as I did.

PERSONAL RATINGS: (on a 1 to 10 scale with 10 being excellent)
Audio Mix: 10
Audio Quality: 10
Energy Level: 9.8
Show "Completeness": 10 (not counting the missing Acoustic Set)
Song Selection: No Brent songs
Surprises: The openings of many of the songs reverted back to the 1970's era style of playing... this monitor mix (rare), and the show as a whole

**
timesheet.txt: 

Grateful Dead
12/31/81 
Oakland Auditorium Arena   Oakland, CA

"This show is dedicated to the memory of Ken Kesey, who passed away while I was editing Disc 2 at the time... he "guided me" through a very tough section which contained a large number of master volume changes! I'll shake his hand again someday, and tell him 'Thanks for the help'... and I know Ken will just give me that knowing wink of his..."
Jay Serafin, owner/chief engineer, Serafin Station Studio B

Source 14 of 20

3:48:54

SBD

Master Reels > cass > dat > cdr

Taper: Jim Voss

Scott Clugston, Charlie Miller

gd1981-12-31.156059.fob.senn421.voss.miller.clugston.flac2496

Jim Voss's Master FOB Audience Cassettes: Sennheiser 421 mics (14th row)> Sony D5

Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496

Scott Clugston, Charlie Miller

View NotesNotes:
- Thanks to Jim Voss for the master FOB cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Mark Severson for the Nakamichi 700 source which supplies a 0:07 patch in the "Terrapin Station > Playin' In The Band" transition, as well as an 0:08 patch in "Drums"
- Joan Baez is backed by The Grateful Dead during her acoustic set
- "CC Rider", "Big Boss Man", "New Minglewood Blues" & "Iko Iko" with Matthew Kelly
- "It Must Have Been The Roses", "Beat It On Down The Line", "Don't Ease Me In" & "It's All Over Now, baby Blue" with Joan Baez
- "The Other One", "Not Fade Away" & "Goin' Down The Road Feeling Bad" with John Cippolina
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
February 2022

Taper: Jim Voss

gd1981-12-31.156058.fob.senn421.voss.miller.clugston.flac1648

Jim Voss's Master FOB Audience Cassettes: Sennheiser 421 mics (14th row)> Sony D5

Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496

View NotesNotes:
- Thanks to Jim Voss for the master FOB cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Mark Severson for the Nakamichi 700 source which supplies a 0:07 patch in the "Terrapin Station > Playin' In The Band" transition, as well as an 0:08 patch in "Drums"
- Joan Baez is backed by The Grateful Dead during her acoustic set
- "CC Rider", "Big Boss Man", "New Minglewood Blues" & "Iko Iko" with Matthew Kelly
- "It Must Have Been The Roses", "Beat It On Down The Line", "Don't Ease Me In" & "It's All Over Now, baby Blue" with Joan Baez
- "The Other One", "Not Fade Away" & "Goin' Down The Road Feeling Bad" with John Cippolina
- Other One space included in "The Other One"
- Pitch corrected

Mastered by Scott Clugston
February 2022

Transferrer: 5.1 LPCM Surround Sound Mix (48k) by Kevin Tobin

4:06:10

5.1 LPCM Surround Sound Mix (48k) by Kevin Tobin

gd1981-12-31.143777.5-1.tobin.flac1648

5.1 LPCM Surround Sound Mix (48k)

gd1981-12-31.143773.PandP-aud.tobin.flac1644

View Notes---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 18-NOV-2018 - Trader Little Helper
- Tagged 18-NOV-2018 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Transferrer: Kevin Tobin

Patched and pitch corrected audience (44/16)

anonymous taper, Jamie Poris, Mark Severson

View NotesMajor patch during Iko Iko. Speedwise the audience was a very fast when compared to other recordings - 1.5 seconds per minute.

Brokedown House Production

Taper: anonymous taper, Jamie Poris, Mark Severson

4:05:04

Taper:

Jamie Waddell and Brian Green

gd1981-12-31.nak700.anon-severson-poris.LMPP.96611.flac16

Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's)

MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Weiss Saracon for 16 BIT 44.1kHz SRC and POWR-3 Dither

gd1981-12-31.nak100.field.gmb.85628.sbeok.flac16

View NotesNotes:

- there is a considerable sonic change from D3T02 to D3T05. I've tried to polish this up a little, but it's still very prominent.
Seeing how this is the only aud circulating right now, I've opted not to patch with the soundboard.

- This is a great, full sounding pull of a historic show. Many thanks to Mark for capturing it and lending his masters to LMPP to get them out.

Tapers Notes

- Jaime built the mic mixer and we all taped from the free throw line on the floor at the Oakland Auditorium. The mic's went from the mixer into my Sony TC-D5M. There was also a patch bay, but I don't remember how many decks were plugged in. I went to 10 New Years runs / shows from 1977 to 1990 and the 1981 run was my favorite.

---------------------------------------------------------

- Taped by Mark Severson, he who wishes to remain anonymous, and Jamie Poris

- Transferred by Bgreen. ( AKA "The Boss" )

- Editing and Mastering: Jamie Waddell (shnflac@gmail.com) on the GEMS Edit Station.
Weiss Saracon for 16 BIT 44.1kHz SRC and POWR-3 Dither.  As always, Eternal gratitude for Bluedakota.

- First seeded to www.shnflac.net December 2008 (New Years Eve)

- A cooporative effort of Live Music preservation Project, The Gems Team, and  great group of Tapers

- contact lmpp.productions@gmail.com with questions/concerns

www.livemusicpreservationproject.com

Taper: Matt Field

FOB Nak 100's > D-5 > D-5 > Maxell UDXL I cassettes