Saint Of Circumstance > (start set 2) | 1986-12-17 | Grateful Dead

133

Playback	Listens	Hours
48h	6	29m
7d	31	3
30d	133	15

3:08:48

13 tapes

12/30SBD

184

Playback	Listens	Hours
48h	0	0m
7d	23	2
30d	184	20

2:59:23

19 tapes

12/28SBD

Playback	Listens	Hours
48h	6	31m
7d	21	2
30d	86	10

2:19:49

20 tapes

12/27SBD

Oakland-Alameda County Coliseum

206

Playback	Listens	Hours
48h	14	1
7d	36	3
30d	206	20

2:14:54

18 tapes

12/17SBD

Oakland-Alameda County Coliseum

Playback	Listens	Hours
48h	1	5m
7d	32	4
30d	68	8

2:59:59

25 tapes

12/16SBD

Oakland-Alameda County Coliseum

101

Playback	Listens	Hours
48h	1	11m
7d	11	1
30d	101	11

2:56:06

19 tapes

12/15SBD

Alpine Valley Music Theatre

376

Playback	Listens	Hours
48h	20	2
7d	23	3
30d	376	43

Playback	Listens	Hours
48h	0	0m
7d	3	14m
30d	7	35m

Playback	Listens	Hours
48h	29	4
7d	22	2
30d	155	19

Playback	Listens	Hours
48h	3	17m
7d	10	1
30d	84	10

Playback	Listens	Hours
48h	8	51m
7d	28	3
30d	226	23

1:53:56

14 tapes

7/02SBD

Rubber Bowl, U. of Akron

Akron, OH, USA

131

Playback	Listens	Hours
48h	4	27m
7d	38	4
30d	131	14

2:12:05

16 tapes

6/30SBD

River Bend Music Center

Cincinnati, OH, USA

Playback	Listens	Hours
48h	2	11m
7d	7	47m
30d	26	3

2:15:00

13 tapes

6/29SBD

East Troy, WI, USA

139

Playback	Listens	Hours
48h	35	3
7d	7	43m
30d	139	14

2:11:07

10 tapes

6/28SBD

Alpine Valley Music Theatre

East Troy, WI, USA

117

Playback	Listens	Hours
48h	24	3
7d	18	2
30d	117	13

2:05:06

13 tapes

6/26SBD

Hubert H. Humphrey Metrodome

Minneapolis, MN, USA

Playback	Listens	Hours
48h	22	2
7d	35	4
30d	59	6

Playback	Listens	Hours
48h	25	3
7d	58	7
30d	252	28

Playback	Listens	Hours
48h	6	49m
7d	59	7
30d	150	17

Playback	Listens	Hours
48h	4	23m
7d	56	7
30d	125	15

Playback	Listens	Hours
48h	0	0m
7d	25	3
30d	138	15

Playback	Listens	Hours
48h	0	0m
7d	63	8
30d	258	36

Playback	Listens	Hours
48h	7	44m
7d	0	0m
30d	104	12

Playback	Listens	Hours
48h	1	8m
7d	75	9
30d	331	39

2:13:36

8 tapes

4/22SBD

139

Playback	Listens	Hours
48h	21	3
7d	5	40m
30d	139	18

2:27:50

6 tapes

4/21SBD

188

Playback	Listens	Hours
48h	17	2
7d	38	5
30d	188	23

2:25:24

6 tapes

4/19SBD

358

Playback	Listens	Hours
48h	31	3
7d	53	7
30d	358	47

2:06:15

7 tapes

4/18SBD

Cumberland County Civic Center

Playback	Listens	Hours
48h	4	21m
7d	21	3
30d	98	12

Playback	Listens	Hours
48h	0	0m
7d	27	3
30d	142	18

Playback	Listens	Hours
48h	19	2
7d	31	4
30d	85	10

2:22:35

6 tapes

4/04

Hartford Civic Center

Hartford, CT, USA

923

Playback	Listens	Hours
48h	40	4
7d	780	79
30d	923	94

2:19:57

16 tapes

4/03SBD

Hartford Civic Center

Hartford, CT, USA

Playback	Listens	Hours
48h	64	8
7d	241	30
30d	1k	126

2:26:13

20 tapes

4/01SBD

Providence Civic Center

Providence, RI, USA

775

Playback	Listens	Hours
48h	21	3
7d	71	9
30d	775	101

2:23:08

18 tapes

3/31SBD

Providence Civic Center

Providence, RI, USA

700

Playback	Listens	Hours
48h	0	0m
7d	92	11
30d	700	81

2:07:33

18 tapes

3/30SBD

Providence Civic Center

Providence, RI, USA

1.5k

Playback	Listens	Hours
48h	7	48m
7d	65	7
30d	1.5k	169

2:37:13

15 tapes

3/28SBD

Portland, ME, USA

270

Playback	Listens	Hours
48h	8	57m
7d	16	2
30d	270	29

2:10:15

20 tapes

3/27SBD

Cumberland County Civic Center

Portland, ME, USA

Playback	Listens	Hours
48h	23	3
7d	79	8
30d	1k	107

Philadelphia, PA, USA

622

Playback	Listens	Hours
48h	20	2
7d	35	4
30d	622	71

Philadelphia, PA, USA

915

Playback	Listens	Hours
48h	2	14m
7d	36	4
30d	915	94

Philadelphia, PA, USA

1.9k

Playback	Listens	Hours
48h	44	5
7d	102	12
30d	1.9k	225

Playback	Listens	Hours
48h	22	3
7d	84	11
30d	1.4k	181

Playback	Listens	Hours
48h	17	2
7d	53	7
30d	2.3k	284

Playback	Listens	Hours
48h	22	2
7d	38	5
30d	2.3k	226

2:30:35

25 tapes

2/14SBD

413

Playback	Listens	Hours
48h	19	2
7d	129	14
30d	413	47

4:31:43

12 tapes

2/12SBD

370

Playback	Listens	Hours
48h	42	5
7d	111	13
30d	370	48

2:54:33

10 tapes

2/11SBD

368

Playback	Listens	Hours
48h	19	2
7d	110	12
30d	368	43

2:17:07

14 tapes

2/09SBD

Playback	Listens	Hours
48h	11	1
7d	16	2
30d	93	10

2:01:34

9 tapes

2/08SBD

174

Playback	Listens	Hours
48h	12	1
7d	20	2
30d	174	19

2:27:10

7 tapes

Songs

Sources

Transferrer: Matrix by Kevin Tobin

Matrix by Kevin Tobin

gd1986-12-17.141745.mtx.tobin.flac2496

Matrix 2 Source Mix - SBD (shnid = 139727) Recording Info: SBD > Cassette Master (Tascam Deck/TDK SA-X90); Transfer Info: Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24 + AUD (shnid = 139364) Michael Hessberg Recording: Sennheiser ME80 > Cassette Master (Sony TC-D5M); Charlie Miller DSD

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > FLAC 24/96; Edited & Mastered in Audacity by Joe Noel: Flac 24/96; Checksum & tags created in xACT - matrix mixing by Kevin Tobin

gd1986-12-17.139919.UltraMatrix.cm.miller.flac16

View NotesSBD + AUD Matrix 2 Source Mix 

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 21-APR-2018 - Trader Little Helper
- Tagged 21-APR-2018 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Transferrer: Charlie Miller

Ultra Matrix SBD > Cassette Master (Sony TC-D5M/TDK MA-R90/Dolby B)

Cassette Master (Nakamichi CR-7A/Dolby B) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

gd1986-12-17.139917.sbd.cm.miller.flac1644

View NotesNotes:
-- Drums with Babatunde Olatunji
-- Two sets of masters were used to make this show complete
-- This fileset is 16 bits

Transferrer: Charlie Miller

SBD > Cassette Master (Tascam Deck/TDK SA-X90)

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

gd1986-12-17.139728.sbd.ultra.miller.flac2496

View NotesNotes:
-- Drums with Babatunde Olatunji
-- Two sets of masters were used to make this show complete
-- This fileset is 16 bit

Transferrer: Charlie Miller

Ultra Matrix SBD > Cassette Master (Sony TC-D5M/TDK MA-R90/Dolby B)

Cassette Master (Nakamichi CR-7A/Dolby B) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

gd1986-12-17.139727.sbd.miller.flac2496

View NotesNotes:
-- Drums with Babatunde Olatunji
-- Two sets of masters were used to make this show complete

Transferrer: Charlie Miller

SBD > Cassette Master (Tascam Deck/TDK SA-X90)

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Adobe Audition CC 2015 > Samplitude Pro X3 Suite > FLAC/24

gd1986-12-17.134893.sur5-1.tobin.flac1648

View NotesNotes:
-- Drums with Babatunde Olatunji
-- Two sets of masters were used to make this show complete

Transferrer: Kevin Tobin

flac16/48kHz; 5.1 LPCM Surround Sound Mix from SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926) taper: Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - mixing by Kevin Tobin

gd1986-12-17.134892.dts.tobin.flac16

View NotesSurround Sound Mix 5.1 LPCM (48k)

All recording, transfers, and mastering by Greg Holtz
---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 29-DEC-2015 - Trader Little Helper
- Tagged 29-DEC-2015 - Tag&Rename
---------------------------------------------------------

Brokedown House Production

Transferrer: Kevin Tobin

DTS-Audio-CD 5.1 Mix; SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926)taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - dts mixing by Kevin Tobin

gd1986-12-17.134891.mtx.tobin.flac16

View NotesDTS-Audio-CD 5.1 Mix

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 29-DEC-2015 - Trader Little Helper
- Tagged 29-DEC-2015 - Tag&Rename
---------------------------------------------------------
Front
Left Channel SBD  -0db
Right Channel SBD -0db

Center
Mixed to mono -1db SBD

Surround
Left Channel -2db AUD
Right Channel -2db AUD

Sub/LFE
Mixed to mono -1db SBD
---------------------------------------------------------
More On DTS

Today's audio standards are moving towards multi-channel
sound, like DTS and Dolby Digital. While the Audio-CD
standard (Red Book) hasn't changed to accommodate these
new sound formats, it is still possible to go around the
specification and to put a 5.1 surround recording on a
regular Audio-CD. To play a DTS-Audio-CD you must connect
your DVD/CD player via a digital cable (optical or coaxial)
to your DTS Dolby-Digital receiver. It is not 100% sure
that your receiver will recognize a DTS-Audio CD, so the
first time you're trying to playback a DTS-Audio-CD you
must do a test to determine if it can. Begin with the
volume very low, start the disc and raise the volume
gradually. NEVER listen to a DTS-Audio-CD through the
analog audio outputs of your CD/DVD player.

Burning Instructions

Burn them the absolute same way as you would burn any
normal Audio-CD from FLAC files.

Brokedown House Production

Transferrer: Kevin Tobin

Matrix 2 Source Mix - SBD (shnid=99048) Recording Info: SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B); Transfer Info: Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller + AUD (shn id 88926)taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - matrix mixing by Kevin Tobin

Joani Walker and Paul Scotton

View NotesSBD + AUD Matrix 2 Source Mix(48%-SBD/52%-AUD)

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 29-DEC-2015 - Trader Little Helper
- Tagged 29-DEC-2015 - Tag&Rename
---------------------------------------------------------
Multitrack Mixdown Settings

SET ONE

Stereo Matrix
SBD -1
AUD 0

SET TWO

Stereo Matrix
SBD -1
AUD 0
---------------------------------------------------------

Brokedown House Production

Taper: Joani Walker and Paul Scotton

Transferrer:

Charlie Miller

gd1986-12-17.sbd.walker-scotton.miller.99048.sbeok.flac16

SBD -> Cassette Master (Sony D5/TDK MX-XG90/Dolby B)

Cassette Master (Nakamichi DR-1/Dolby B) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.2.1 -> FLAC/16

gd1986-12-17.sbd.miller.77410.flac16

View NotesPatch Info:
Nakamichi 300/CP4 -> Cassette Master -> FLAC (shnid=80996) supplies:
Desolation Row (5:10 - 5:24) (9:10 - 10:00)
When Push Comes To Shove (4:07 - end of track)
The Music Never Stopped (0:00 - 0:46) (1:19 - 2:21)
He's Gone (10:12 - 10:27)
Throwing Stones (8:02 - 8:12)

Notes:
-- Drums with Babatunde Olatunji
-- Thanks to Joani Walker and Paul Scotton for the Cassettes
-- Thanks to Joe B. Jones for his help pitch correcting the patch source

Transferrer: Charlie Miller

SBD -> Cassette Master (Sony D5/TDK MX-XG90) D

Cassette Master (Sony TC-WE475) -> Sony R500 (Pass Through) ->

View NotesNotes:
-- Seamless transition between Discs 2 and 3
-- Thanks to Paul Scotton and Joani Walker for the Cassettes
-- Drums with Babatunde Olatunji
-- Tape flip in He's Gone and Throwing Stones

The 'skips' that you hear are on the master cassette and are not digital flaws. This is the 2nd night of them attempting ultramatrix recordings and they are switching between the sbd and the mics trying to find a good balance. I tried to fix this, but it was too much trouble to do.

Taper: Matrix by Kevin Tobin

2:53:33

SBD

Taper:

Matrix by Kevin Tobin

gd1986-12-17.145501.mtx.tobin.flac16

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

Scott Clugston and Charlie Miller

View Notes---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 21-APR-2018 - Trader Little Helper
- Tagged 21-APR-2018 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Taper: Chris Hecht

gd1986-12-17.148871.neumann.km84i.hecht.miller.clugston.flac2496

Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5M

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496

Scott Clugston and Charlie Miller

View NotesNotes:
- Thanks to Chris Hecht for the master cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:08 patch in "He's Gone", as well as most of "Drums" (10:13 total)
- Pitch corrected

Mastered by Scott Clugston
November 2019

Taper: Chris Hecht

gd1986-12-17.148870.neumann.km84i.hecht.miller.clugston.flac1648

Chris Hecht's Master Audience Cassettes; Neumann KM84i mics > Sony D5M

Cassette Master (Nakamichi DR-1) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp > Adobe Audition CC 2019 > TLH flac2496

Charlie Miller and Joe Noel

View NotesNotes:
- Thanks to Chris Hecht for the master cassette recording
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to the Oade's for the Schoeps CMC4 MK41 source which supplies a 0:08 patch in "He's Gone", as well as most of "Drums" (10:13 total)
- Pitch corrected

Mastered by Scott Clugston
November 2019

Taper: Michael Hessberg

gd1986-12-17.141036.Senn.Hessberg.Miller.Noel.t-flac1644

Michael Hessberg Recording: Sennheiser ME80 > Cassette Master (Sony TC-D5M); Charlie Miller DSD

Charlie Miller, Jim Wise, Scott Clugston

View NotesNotes:
- cross fades applied to tape pauses
- A jam ensues from Drums with the entire ensemble cast before Space.
- This file set is 16 bit, 24 bit to 16 bit with MusicConverter using sox-14-4-2
* w/ Sikiru Adepoju - Talking Drum
* w/ Jose Lorenzo - Berimbau, Hand Percussion

Patch Info:
- Source #80996 (T. Suraci & D. Beckham) supplies
- s1t07; 08:24 - end
- s1t08; start - 00:01 & 10:22 - end
- s1t09; start - 00:02
- s2t12; 05:18 - 05:26
- s2t13; 00:00 - 01:02

Taper: Oade Brothers

gd1986-12-17.140295.fob.schoeps.cmc4.mk41.oade.wise.miller.clugston.flac1644

Charlie Miller and Joe Noel

View NotesNotes:
- Thanks to the Oade brothers and crew for their master recording(s), as well as a proper transfer to hard disk, and my apologies for not properly acknowledging their efforts sooner.
- Thanks to Jim Wise for the hard disk drive
- Thanks to Charlie Miller for coordinating this effort
- Thanks to the folks responsible for the shnid14452 Nakamichi CM300 source which supplies a 0:02 patch in "The Music Never Stopped" from 0:41 thru 0:43
- "Drums" with Babatunde Olatunji
- Other One space included in "The Other One"

Mastered by Scott Clugston
December 16, 2017

Taper: Michael Hessberg

gd1986-12-17.139364.Senn.Hessberg.Miller.Noel.t-flac24

Sennheiser ME80 > Cassette Master (Sony TC-D5M)

Charlie Miller DSD Transfer: Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) > KORG AudioGate 4 > FLAC 24/96 Edited & Mastered in Audacity by Joe Noel: Flac 24/96

gd1986-12-17.168571.superscopeEC-7.v2.ont.flac1644

View NotesNotes:
- cross fades applied to tape pauses
- A jam ensues from Drums with the entire ensemble cast before Space.
* w/ Sikiru Adepoju - Talking Drum
* w/ Jose Lorenzo - Berimbau, Hand Percussion

Taper: OldNeumanntapr

OTS (Risers); Superscope EC-7 Cardioids (Near Coincident) >Sony TC-153SD [XLIIS]

Cassette Masters Transferred Via Denon DR-M12HR >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify, Track Splits, Down Sample To 16bit/44.1kHz, Minor Edits & Fades) >FLAC (Level 8) + Tags Via xACT 2.53

gd1986-12-17.168571.superscopeEC7.ont.flac1644

View NotesThis is "v2" which differs from "v1" on tracks d1t02, d1t03
OldNeumanntapr Notes;
This was my 5th Dead show, and the 2nd that I recorded. It was also my first time being in the Oakland Coliseum. I had recently purchased a pair of Marantz Superscope EC-7 cardioid microphones and a Sony TC-153SD cassette recorder and this was the 1st show that I recorded with that combo. I thought that the cardioids reproduced the vocals well, but they did allow a lot more room noise so they could sound boomy in large rooms like the Coliseum. I guess it's a trade off, because years later when I started using CM-300 shotguns I felt that though they did a good job of limiting the reverberant room noise, they also had lower vocal response. I almost didn't make it to this show, because I was having mechanical problems with my old '67 VW bus. It had a couple of interesting problems. One was that the accelerator pedal would stick wide open if you pushed it to the floor. I had to stop the bus on an off ramp in San Jose because it stuck, and the only way to get it unstuck was to throw it into neutral, shut the engine off, coast to a stop and pull the counterweights down on the carburetor. Because I had stopped on a banked off ramp, the bus was leaning to the right, and gas was leaking out of the gas tank because the gas cap had a bad seal. The other problem that the bus had was that the electrical system would build up resistance once the motor got hot and the starter wouldn't work unless you took a screw driver and shorted across the terminals on the starter motor. Well, the bus wouldn't start and there was gas leaking out of the tank, so I was worried that a spark would cause an explosion. I told my ex wife to get way back out of the way and I crawled under, held my breath, and shorted the starter, which broke the resistance. Luckily the bus didn't catch fire and we were able to make it to the show OK. I forgot to bring in my new AA batteries for the microphones and I couldn't figure out why I wasn't getting a signal when I hooked my recording equipment together! I ran up the aisle in the taper section with a $5 bill and bought two batteries from another taper. To whomever that was that night, a big THANK YOU!!! The taper section was on the risers for that series of shows and I remember the mic stands all swaying when the crowd got going. I don't remember the risers ever being used again at the Oakland Coliseum for the tapers. In later years Bill Graham had his pre-show volleyball games there, right behind the board. I was really happy at that show because, 1. I made it there alive, and 2., Jerry was playing again! These were the first shows after his diabetic coma. We had driven down to the Ventura Fairgrounds earlier in the summer only to find that those shows had been cancelled because Jerry had gone into the hospital. We stayed over after the Oakland show that night in the bus in the parking lot of the Coliseum, (remember when they let you do that?) and drove home the following morning. This was a good show for me, because it was the 1st time that I had seen an 'Alabama Getaway' opener, and I wouldn't see another one until the June 1995 shows at Shoreline. I always enjoyed hearing Bobby do 'Desolation Row', and the 'Music' 1st set closer was really nice too. In retrospect I wish I had not paused the tape between songs in the first set, but I was still learning and didn't really know what I was doing. At least this recording sounded better with the addition of a decent recorder like the 153, as compared to my old Sharp boom box with auto levels, which is what I recorded the May 11 1986 Frost show with. Sadly the end of the Brokedown Palace encore is cut because I ran out of tape. For some reason I would start the second set at the end of the first set tape when I first started taping, which was dumb because it would give me one extra tape flip to deal with. Again, I was green but I got better.

This was the first 'Not Fade Away' since Jerry's coma, and the 'Not Fade Away Fadeaway' went on FOREVER! I think the whole track was over 11 minutes long! You could really feel the love in the crowd for Jerry's return because, at least for me, there was a time when I wasn't sure that he was Coming back.

Taper: OldNeumanntapr

OTS (Risers); Superscope EC-7 Cardioids (Near Coincident) >Sony TC-153SD [XLIIS]

gd1986-12-17.134890.upg-aud.tobin.flac16

View NotesThis is version 1

OldNeumanntapr Notes;
This was my 5th Dead show, and the 2nd that I recorded. It was also my first time being in the Oakland Coliseum. I had recently purchased a pair of Marantz Superscope EC-7 cardioid microphones and a Sony TC-153SD cassette recorder and this was the 1st show that I recorded with that combo. I thought that the cardioids reproduced the vocals well, but they did allow a lot more room noise so they could sound boomy in large rooms like the Coliseum. I guess it's a trade off, because years later when I started using CM-300 shotguns I felt that though they did a good job of limiting the reverberant room noise, they also had lower vocal response. I almost didn't make it to this show, because I was having mechanical problems with my old '67 VW bus. It had a couple of interesting problems. One was that the accelerator pedal would stick wide open if you pushed it to the floor. I had to stop the bus on an off ramp in San Jose because it stuck, and the only way to get it unstuck was to throw it into neutral, shut the engine off, coast to a stop and pull the counterweights down on the carburetor. Because I had stopped on a banked off ramp, the bus was leaning to the right, and gas was leaking out of the gas tank because the gas cap had a bad seal. The other problem that the bus had was that the electrical system would build up resistance once the motor got hot and the starter wouldn't work unless you took a screw driver and shorted across the terminals on the starter motor. Well, the bus wouldn't start and there was gas leaking out of the tank, so I was worried that a spark would cause an explosion. I told my ex wife to get way back out of the way and I crawled under, held my breath, and shorted the starter, which broke the resistance. Luckily the bus didn't catch fire and we were able to make it to the show OK. I forgot to bring in my new AA batteries for the microphones and I couldn't figure out why I wasn't getting a signal when I hooked my recording equipment together! I ran up the aisle in the taper section with a $5 bill and bought two batteries from another taper. To whomever that was that night, a big THANK YOU!!! The taper section was on the risers for that series of shows and I remember the mic stands all swaying when the crowd got going. I don't remember the risers ever being used again at the Oakland Coliseum for the tapers. In later years Bill Graham had his pre-show volleyball games there, right behind the board. I was really happy at that show because, 1. I made it there alive, and 2., Jerry was playing again! These were the first shows after his diabetic coma. We had driven down to the Ventura Fairgrounds earlier in the summer only to find that those shows had been cancelled because Jerry had gone into the hospital. We stayed over after the Oakland show that night in the bus in the parking lot of the Coliseum, (remember when they let you do that?) and drove home the following morning. This was a good show for me, because it was the 1st time that I had seen an 'Alabama Getaway' opener, and I wouldn't see another one until the June 1995 shows at Shoreline. I always enjoyed hearing Bobby do 'Desolation Row', and the 'Music' 1st set closer was really nice too. In retrospect I wish I had not paused the tape between songs in the first set, but I was still learning and didn't really know what I was doing. At least this recording sounded better with the addition of a decent recorder like the 153, as compared to my old Sharp boom box with auto levels, which is what I recorded the May 11 1986 Frost show with. Sadly the end of the Brokedown Palace encore is cut because I ran out of tape. For some reason I would start the second set at the end of the first set tape when I first started taping, which was dumb because it would give me one extra tape flip to deal with. Again, I was green but I got better.

Transferrer: Kevin Tobin

(original shnid = 88926) AUD: taper : Joe D'Amico nak 300 mics w/cp4 shotguns > sony d-5 nak dragon tape deck > sony sbm1 > creative extigy soundcard > cool edit pro > flac frontend - pitch correction and patches by Kevin Tobin

gd1986-12-17.nak300.andrewf.131309.flac1644

View NotesPatched and pitch corrected Audience

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 29-DEC-2015 - Trader Little Helper
- Tagged 29-DEC-2015 - Tag&Rename
---------------------------------------------------------
Only minor patching - 1st set had some additional dead air before Desolation Row to match soundboard tracks. 2nd set had 41 seconds added during the end of He's Gone and 10 seconds at the end of Black Peter.  Speedwise the audience was a bit slow compared to other recordings - about .5 seconds per minute.

Brokedown House Production

Taper: Andrew F.

OTS AUD: Nakamichi CM300/CP4 shotguns > patched thru one D5 > Sony TC-D5M > Sony ES-Metal 90's, with no Dolby.

MAC > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > R8Brain > TLH > FLAC 1644 tagged. Taped and transferred by Andrew F. 09/2014

gd1986-12-17.nak300.andrewf.131308.flac2448

View NotesNotes: Drums > Jam with Babatunde Olatunji. MAC from the lead 
deck provides patches as follows: four seconds at the end of 
He's Gone, four seconds at end of Throwing Stones, and approx 
two minutes of the crowd chant. With thanks to Ted Gidley for 
loaning his tapes for this project.

Taper: Andrew F

OTS AUD: Nakamichi CM300/CP4 shotguns > patched thru one D5 > Sony TC-D5M > Sony ES-Metal 90's, with no Dolby.

MAC > Nakamichi CR-5A > Edirol FA-66 > Wavelab 2448 > CD-Wave (24bit output) > TLH > FLAC 2448 tagged. Taped and transferred by Andrew F. 09/2014

gd1986-12-17.aud.Holtz.Nak-Senn.114701.flac16

View NotesNotes: Drums > Jam with Babatunde Olatunji. MAC from the lead 
deck provides patches as follows: four seconds at the end of 
He's Gone, four seconds at end of Throwing Stones, and approx 
two minutes of the crowd chant. With thanks to Ted Gidley for 
loaning his tapes for this project.

Taper: Greg Holtz

Recording Info: Nakamichi CM-300 mics w/ CP-4 shotgun caps/Sennheiser 421's > Niles Audio Mixer > Sony D-5 (Front Row OTS); Transfer Info: MAC > Tascam 112 > Edirol UA-5 > Audacity > Traders Little Helper > FLAC Level 8; All recording, transfers, and mastering by Greg Holtz

gd1986-12-17.nak300.damico.88926.flac16

View NotesNotes:

Special Thanks:
-Doug K. for use of the Sennheiser 421's
-to Indydarkstar for use of the UA-5.  
-to Martha W., Doug and Nancy K., and Brian and LeeAnn O. for making this run of shows a very special and memorable time.

Taper: Joe D'Amico

nak 300 mics w/cp4 shotguns > sony d-5 > mac

Taper: Don Beckham and Tony Suraci

Don Beckham and Tony Suraci

Transferrer:

Tony Suraci

gd1986-12-17.nakcm304.beckham.suraci.sbeok.80996.flac16

Nak CM304>Sony D5

Nak CR5A>Lunatec V3>SD722

gd86-12-17.aud.eD.14452.sbeok.shnf

View Notes* Thanks to Don for running my rig.
Notes: This is the 16Bit version. 24 Bit is archived on DVDA.

Source 25 of 25

AUD>DAT>CDR