Space -> | 1987-12-28 | Grateful Dead

View NotesNotes:
-- Disc change is seamless
-- Major problems with the ultrabox feed in first 3 songs
-- Problem solved by switching to pure SBD feed at Minglewood
-- Two different SBD Cassette Masters were used to make this seamless
-- Thanks to Paul Scotton and Joani Walker for the tapes

Source 2 of 9

2:31:04

SBD

Rating:

4.00 / 2 ratings

SHNID:

gd87-12-28.sbd.samaritano.17280.sbeok.shnf

Source:

Master Cassette Soundboard (Gans)->DAT->ZA2->SoundForge->SHN. *No* audience patch. Low generation lineage guaranteed. See info file for details. SHN'd and seeded to etree by Joe Samaritano.

Taper Notes:

View NotesMaster Cassette Soundboard (Gans)->DAT->ZA2->SoundForge->SHN. *No* audience patch. Low generation lineage guaranteed. See info file for details. SHN'd and seeded to etree by Joe Samaritano.

Source 3 of 9

gd87-12-28.sbd-audpatch.braverman.16910.sbeok.shnf

Source:

Ultramatrix (soundboard/audience mix) Master Cassette> DAT> CD> SHN patched with FOB Schoeps

Taper Notes:

View NotesUltramatrix (soundboard/audience mix) Master Cassette> DAT> CD> SHN patched with FOB Schoeps; via Raoul Duke, encoded & patched by Peter Braverman

Taper: Joani Walker

Scott Clugston, Charlie Miller

SHNID:

gd1987-12-28.163799.ultramatrix.walker.scotton.miller.clugston.flac2496

Source:

Joani Walker's Master Ultramatrix Soundboard Cassettes (TDK MA-XG90)

Lineage:

Master Cassettes (Nakamichi CR7-A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> Tascam Hi-Res Editor (24/96 .wav) > Adobe Audition CC 2023 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Major issues with the ultrabox feed during "Feel Like A Stranger > Franklin's Tower" and "New Minglewood Blues" resulting in severe distortion in the right channel, then turning to just the ambient mics at the end of "Franklin's Tower" and the beginning of "New Minglewood Blues", before switching to a straight soundboard feed for the rest of the show. Since the distortion was relegated to the right channel, the left channel was copied and pasted to the right channel for the ultramatrix soundboard portions until the feed switched to only the ambient mics towards the end of "Franklin's Tower" and beginning of "New Minglewood Blues". All in all, a nice improvement over previous versions and very listenable.
- Thanks to Michael Duffy and Curtis Ewing for the Schoeps source which supplies a half second patch when the feed changes from the ambient mics to the straight soundboard in the beginning of "New Minglewood Blues"
- Wheel space included in "The Wheel"
- Multiple masters were used to make this complete
- Pitch corrected

Mastered by Scott Clugston
February 2023

Taper: Joani Walker

Scott Clugston, Charlie Miller

SHNID:

gd1987-12-28.163798.ultramatrix.walker.scotton.miller.clugston.flac1648

Source:

Joani Walker's Master Ultramatrix Soundboard Cassettes (TDK MA-XG90)

Lineage:

Master Cassettes (Nakamichi CR7-A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> Tascam Hi-Res Editor (24/96 .wav) > Adobe Audition CC 2023 > TLH flac2496

Taper Notes:

View NotesNotes:
- Thanks to Joani Walker and Paul Scotton for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Major issues with the ultrabox feed during "Feel Like A Stranger > Franklin's Tower" and "New Minglewood Blues" resulting in severe distortion in the right channel, then turning to just the ambient mics at the end of "Franklin's Tower" and the beginning of "New Minglewood Blues", before switching to a straight soundboard feed for the rest of the show. Since the distortion was relegated to the right channel, the left channel was copied and pasted to the right channel for the ultramatrix soundboard portions until the feed switched to only the ambient mics towards the end of "Franklin's Tower" and beginning of "New Minglewood Blues". All in all, a nice improvement over previous versions and very listenable.
- Thanks to Michael Duffy and Curtis Ewing for the Schoeps source which supplies a half second patch when the feed changes from the ambient mics to the straight soundboard in the beginning of "New Minglewood Blues"
- Wheel space included in "The Wheel"
- Multiple masters were used to make this complete
- Pitch corrected

Mastered by Scott Clugston
February 2023

Taper: OldNeumanntapr

gd1987-12-28.168488.ec7.ont.flac1644

Source:

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

Lineage:

Cass Masters Transferred Via Denon DR-M12HR Cassette Deck >Tascam DR100mkII (24bit/48kHz) WAV >Audacity (Amplify By 4.2db, Index Tracks, Down Sample To 16bit/44.1kHz, Minor Edits [Tape Flips], & Fades) Fix SBEs >FLAC (Level 8) + Tags Via xACT 2.53

Taper Notes:

View NotesOldNeumanntapr Notes;
This, and the previous night, was the second time that I had recorded the Dead at the Oakland Coliseum Arena, the first time being December 17 1986. The first time I was at the Coliseum was another near disaster, similar to my Ventura Fairgrounds 1986 excursion. I had mechanical problems with my '67 VW bus, and I forgot and left the new pack of double A batteries back in the bus and had to buy a pair from another taper. My Superscope EC7s ran on AA batteries.

In 1986 the tapers section was on risers between the soundboard area and the front of the balcony. When people stomped their feet the risers shook and the sea of microphone stands swayed back and forth. For this series of Coliseum shows the tapers section was in the actual balcony and we were farther from the stage and closer to the rafters. I think that Bill Graham wanted that space where the risers had been to stage his pre-show volleyball games.

These particular masters of mine have never been digitized and I had to borrow a Denon cassette deck from a friend because my decks have all quit working. Tracking the show out in Audacity I am realizing that I had a bad habit of pausing the tape between some songs. I don't remember what my reasoning was for this but I ended up clipping the beginning of some songs and leaving a really disjointed-sounding recording in the process. I guess I was trying to avoid 'dead air' between songs but it didn't work out really well in the long run. The continuity is a little unsettling at times because of the pauses between some songs, but overall I think the sound quality is decent. The vocals sound really upfront and open, as compared to the Nakamichi CM 300 shotgun source. Not bad for a 22 year old who had only been recording live shows for a year and a half.

I used the Superscope EC7 cardioid microphones from late 1986 to early 1989 when a friend started letting me borrow his Nakamichi CM 300s. The Superscope's, which were made by Marantz,  had a more open sound, especially on the vocals, but they tended to be a bit boomy on the low end, especially at indoor venues. I never tried them in an x/y pattern. Maybe that would have been an improvement. I think the EC7s had similar sound to Sony ECM-22P's, but (I've heard) that the Sonys were a bit better. I think I liked the Kaiser Convention Center better for recording because it was a bit smaller than the Oakland Coliseum and didn't sound as reverberant.

Taper: bltz

gd1987-12-28.135155.bltz.flac2496

Source:

Source: Nakamichi CM-300s/Shotguns -> Sony Walkman Pro/TDK MA90 -> JVC TD-W354 -> Zoom H6 96/24 WAV -> Audacity -> FLAC 96/24; Recorded, tracked and seeded by bltz

Taper Notes:

View NotesPart of my Original Master Rescue Project.

Notes:
Excellent performance by Brent in particular, under-appreciated show sandwiched between other nights, energetic China-Rider, nice weird stuff in at end of Franklin's, and in space. Lots of quadrophonic effects inside the show which you can kind of hear with good headphones. People who were there had a really good time. Trust me!

Taper: Ted Gidley

gd1987-12-28.nak300.gidley.120467.flac2448

Source:

OTS AUD: 2x Nakamichi CM300 w/CP4 shotguns > Sony TC-D5M > Maxell MX90's, w/no Dolby. Taped by Ted Gidley.

Lineage:

MAC > Nakamichi DR-2 > Edirol FA-66 > Wavelab > TLH > FLAC 2448 tagged. Transfer by Andrew F. 06/2012

Taper Notes:

View NotesNote: Patches from ID-16585, crowd track (after Row Jimmy) 
0:11 > 1:14, and The Wheel 0:04 > 0:11.

Source 9 of 9

gd87-12-28.schoeps.ewing.16585.sbeok.shnf

Source:

Schoeps FOB->PCM->DAT->CD->CD->WAV->SHN via "M.D." encoded by Curtis Ewing

Taper Notes:

View NotesSchoeps FOB->PCM->DAT->CD->CD->WAV->SHN via "M.D." encoded by Curtis Ewing