E: The Mighty Quinn | 1989-07-02 | Grateful Dead

Alpine Valley Music Theatre

Alpine Valley Music Theatre

Alpine Valley Music Theatre

Deer Creek Music Center

John F Kennedy Stadium

Oakland-Alameda County Stadium

Metropolitan Sports Center

Club Front - Grateful Dead Studio

Henry J. Kaiser Convention Center

Henry J. Kaiser Convention Center

Henry J. Kaiser Convention Center

Ante Up - Built to Last interview

Various, Various

23:08

1 tape

Sources

Transferrer: Charlie Miller

gd1989-07-02.138306.mtx.miller.flac16

Ultra Matrix SBD > Cassette Master (TDK MA-XG90)

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

gd1989-07-02.138287.sbd.miller.flac24

View NotesNotes:
-- Two sets of master were used to make this show complete
-- This is 138287 24 bit -> 16 bit

Transferrer: Charlie Miller

Ultra Matrix SBD > Cassette Master (TDK MA-XG90)

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

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

View NotesNotes:
-- Two sets of master were used to make this show complete

Transferrer: SBD + AUD Matrix 2 Source Mix (44/16) by Kevin Tobin

2:39:53

SBD

Transferrer:

gd1989-07-02.150431.mtx.tobin.flac16

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

gd1989-07-02.fob.nak300.andrewf.99912.flac16

View Notes---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 08-AUG-2020 - Trader Little Helper
- Tagged 08-AUG-2020 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Taper: Andrew F.

FOB AUD: Nakamichi CM300/CP4 shotguns > Sony TC-D5M > Maxell MX-90's with no Dolby. Mics on 8-foot stand, approx 10 feet in front of SBD area and 15 feet to stage left (Brent side).

MAC > Nakamichi DR-8 (no Dolby) > Edirol FA-66 > Wavelab > CD-Wave > R8Brain > TLH > FLAC 1644

gd1989-07-02.fob.nak300.andrewf.99911.flac24

View NotesNotes: 
- Patch from ID-8243 in Drums 03:12 > 03.17. 
- 2nd Set disc break is seamless.

Taper: Andrew F.

FOB AUD: Nakamichi CM300/CP4 shotguns FOB AUD: Nakamichi CM300/CP4 shotguns > Sony TC-D5M > Maxell MX-90's with no Dolby. Mics on 8-foot stand, approx 10 feet in front of SBD area and 15 feet to stage left (Brent side).

MAC > Nakamichi DR-8 (no Dolby) > Edirol FA-66 > Wavelab > CD-Wave > TLH > FLAC 2496

View NotesNote: Patch from ID-8243 in Drums 03:12 > 03.17.

Source 6 of 21

2:42:24

gd1989-07-02.153412.MTX.photoLeon.t-flac16

A photoLeon Matrix

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

View NotesMatrix Created in Adobe Audition by Joe Noel
July 2, 2021

Notes:
- Los Lobos opened
- last 1st-set "Playin": 07-04-87 [156] or 12-27-86 [200]
- last 1st-set "Crazy Fingers": 04-04-86 [225]
- first 24 seconds of s2t01 is source #1 only
- Source #2 was pitch corrected
- EotW (00:13 - 00:49) is missing vocals

Thanks to:
- Ted Mattes for the stellar FOB recording
- John Ammons for the top shelf transfer
- Charlie Miller for the board source & transfer
- Thanks to Jack Schlottman for the critique
- Sabrina & her Mom

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

2:39:51

Transferrer:

gd1989-07-02.150433.5-1.tobin.flac1648

5.1 LPCM Surround Sound Mix (48k)

gd1989-07-02.149202.Dak.boedicker.flac1644

View Notes---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 08-AUG-2020 - Trader Little Helper
- Tagged 08-AUG-2020 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

Taper: Dave Boedicker

Dak Shotgun Mics>Sony WM-D6C Cassette Deck>2 Maxell MX-90 Metal Cassette Master Tapes>Sony TC-D5M Cassette

Deck(Playback)>Edirol R-09 HR(24/44.1 KHZ)>CD Wav Editor>Traders Little Helper>Flac Level 8.Sector Boundaries Aligned Using Traders Little Helper.Taped By Dave Boedicker,Official Taper Section.

View Notes1)Tape Flip After "Queen Jane Approximately"(No Music Missed on Next Song "To Lay Me Down")

2)Tape Flip During Drums

Taper: Ted Mattes

John Ammons and Joe Noel

gd1989-07-02.138258.FOB.Scheops.Mattes.Ammons.t-flac16

Ted Mattes FOB recording: Schoeps CMC42s (omnis spaced 8 feet) > Panasonic SV250; John Ammons

from his DAT clone of the master; DAT Master > Sony PCM601/Beta > DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optical) > Audacity 3.0 at 44K > Wave; Joe Noel Track, Flac, Patch, Pack & Seed: Wave > Audacity > track/label > export multiple > flac 16/44; Checksum & tags created in xACT

gd1989-07-02.134395.MOTB.droncit.flac16

View Notespatch info:
*  s1t01: all
** s1t02: 0:20 - 0:23 & 1:05 - 1:09

* (134395) AKG C460b + (99912) Nakamichi CM300/CP4 (both FOB) = (blend)

** (133781) AKG 414-BTL FOB, DAT

notes:
- Los Lobos opened
- Warning: this recording may cause side effects, symptoms including; distraction, utter joy, life reaffirming moments & in rare instances time travel.
- This was a quintessential New England summer day.  I stood just at the top of the pathway into the stadium for hours with my eyes closed, an index finger checking the wind direction & an extended palm.  It was a nice vantage point to hear Los Lobos.  Mind you, I was sore I was missing them.  Patiently I waited, when "it" happened I opened my eyes finding a very young girl, maybe 8 years old & her mother standing before me with an extra ticket.  Her mom said "She insisted you have it."  I will never forget it.  Not because I got miracle'd but because of the smile on this young girls face.  It's forever etched into my memory.  While exchanging pleasantries, we walked into the show together, upon reaching the field, Sabrina saw Jan Sawka's stage artwork & gasped.  She thought it was beautiful & like that, Mom was off in Sabrina's tow.  I saw them later on during The Wheel & Sabrina came & danced with us.  When Dear Mr Fantasy hit, Sabrina jumped for joy & sang along.  When Hey Jude broke, she erupted again.  But it wasn't until The Mighty Quinn encore that Sabrina, who didn't, shockingly, know it.  She picked up on the theme immediately & danced like a soldier would march.  She was our pied piper there & it was a simple & pure moment. - Joe.

Grateful to:
- Ted Mattes for this stellar recording
- John Ammons for sharing his Archives with us
- Dan Tepper, Danny Thomson & Andrew F for their recordings & efforts
- Droncit for his efforts on the Thompson pull
- Sabrina & her Mom

Transferrer: Remaster by droncit

Source: Audience FOB Recording; Media: AKY Recording Supply Custom Wound BASF 100% CrO2 Cassette;

FOB AKG C460b pre's with ck61uls heads > Uher 240 > Nak DR-1 >Apogee 200 Rosetta >Firewire >Apple G5 >Bias Peak(24/96WAV) > Wavelab 5 > Waves L3 Multimaximizer (threshold -3.0 dB/ceiling -0.1 dB) > rendered to 16 bit/44.1 KHz WAV using UV22-HR>CDWAV 1.9 >FLAC (level 8); Taper: Danny Thomson; Transfer: Derek McCabe

gd1989-07-02.133781.akg414btl-fob-dantepper.flac16

View NotesDroncit Notes:
This was a request for an interesting show in need of an upgrade/restoration.  This is my attempt.  The original has vocals dominating and the music sounds like it's more in the background.  I've tried to bring it up front.  
I used a mutifilter with a paragraphic equalizer, channel blender, virtual vale simulator, Dynamic noise filter in 'enhancer' mode, and a de-esser.  I also concatenated the tracks and re-cut them.  All work with DC8.5 Forensics and Traders Little Helper.
9/28/15

Taper: Dan Tepper

Source: AKG 414-BTL (cardioid X-Y) > Neuman BS945i > Technics SVMD1 DAT;

Master DAT @ 48kHz > Panasonic SV3700 > 48kHz 16bit Wav > Sample Manager > 44.1kHz 24bit Wav > Wavelab 8.5 / Izotope Ozone 6.1 / MBit+ Dither > 44.1kHz 16bit wav; Recorded, Transferred and Digitally Mastered by Dan Tepper

Taper: John Bleich

gd1989-07-02.nak300.bleich-sirmick.109498.sbeok.flac16

Source: Audience recording > Nakamichi 300s (with cp1 caps) > Sony WM-D6 > mac (Maxell XLIIS x 3)

mac > Yamaha K-98 > Edirol R09 HR > 24/48 wav > Adobe Audition > Wavelab 6 (with iZotope Ozone 4) > iZotope RX Advanced > 16/44.1 wav > CD Wave > TLH > Flac 16 taped from OTS, and transferred by John Bleich

gd1989-07-02.nak300.morris.crazyfingers.106586.flac16

View Notes- tape flips crossfaded except Drums 3:26 - 3:34 patched with 3 Nak CM 300's - 2 CP 4's (Shotguns)
  1 CP3 (Super Omni) arranged in an X-Y pattern (shnid 8243)


Thanks to John for transferring his masters for me to work on

edited and mastered
SIRMick

Taper: Bob Morris

Nakamichi CM-300 (CP-4) x2 > Cassette Master (Sony TCD5M/Maxell MX 90)

Cassette Master (Nakamichi DR-1) > Korg MR-1000 (1-bit/5.6MHz) > Audiogate (1-bit/5.6MHz > 16-bit/44.1KHz) > cdwav (edits)

Taper: Danny Thomson

Derek McCabe , mastered by Chris Ladner

gd1989-07-02.fob.thomson.motb.81855.sbeok.flac24

FOB Nak700's > Uher 240 > Master Cassette Maxell XLII 90min.

Playback on Nak DR-1 > Apogee 200 Rosetta > Firewire > Apple G5 > Bias Peak (24 bit/96 KHz WAV) by D.McCabe.

Derek McCabe , mastered by Chris Ladner

View NotesMastering Notes:
- Encore from FOB Sennheiser 441s Master AUD from Bill Koucky, transferred on Nak DR-2 > Presonus Firebox @ 24/96, wavelab.
- First notes of FOTD/start of second set missing.  On Bill's tape this part is also not recorded well with what sounds like a scramble to get things rolling again.
- Second set flip at the 45:12 mark during a lull, crossfaded into seamlessness - currently at the 3:12 mark of space, s2t06.

Taper: Danny Thomson

gd1989-07-02.fob.thomson.motb.81459.sbeok.flac16

Audience FOB Recording

gd1989-07-02.fob.alexander.tetzeli.77458.sbeok.flac24

View NotesNotes: 
- Encore from FOB Sennheiser 441s Master AUD from Bill Koucky, transferred on Nak DR-2 > Presonus Firebox @ 24/96, wavelab.
- first notes of FOTD/start of second set missing.  on Bill's tape this part is also not recorded well with what sounds like a scramble to get things rolling again.
- Second set flip at the 45:12 second mark during a lull, crossfaded into seamlessness - currently at the 3:12 mark of space, d3t01.

Taper: Tim Alexander

FOB (Sennheiser 421s > Sony D-5 (Dolby B in) > MAC)

Playback on Nakamichi DR-1 (Dolby B out) > Tascam HD-P2 (24bit/48khz) > WAV > FLAC

gd1989-07-02.fob.senn421s.alexander.77444.flac16

View NotesPatch SRC: FOB (Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC) > upsampled in real time from 16bit/44.1khz - 24bit/48khz (playback in CE 2K on Inspiron 600m > Edirol UA-1EX > Tascam HD-P2 (24bit/48khz) > WAV)

Transferred and seeded by Bill Tetzeli (btet@adelphia.net)

Known flaws:

- Friend of the Devil cuts in at the beginning.  This was patched with the Schoeps source from :00 to :14
- Tape flip in Drums.  This and a few seconds of slightly degraded tape at the beginning of the second side were patched with the Schoeps source, from 3:50 to 4:14.

All patches made in CE Pro with levels matched and crossfades.

Quality notes: This is a truly excellent FOB; it's the reason I got into recording at 24 bit, I just didn't know it until now.  IMHO this sounds better than the Schoeps source on archive.org (which is still excellent, and used to patch a couple of spots in the second set).  First, it sounds like it was taped right in the Phil zone, my door and windows were rattling even with the stereo at moderate volume.  Second, Jerry and all the other instruments sound clearer, fuller and warmer, with more definition and separation.  It sounds a ghost of a hair's ghost away from being a Healy matrix.

Many thanks to Tim Alexander for lending me these phenomenal masters!

Taper: Tim Alexander

FOB (Sennheiser 421s > Sony D-5 (Dolby B in) > MAC)

Playback on Nakamichi DR-1 (Dolby B out) > Tascam HD-P2 (16bit/44.1khz) > WAV > FLAC

gd1989-07-02.schoepsmk2.30364.flac16

View NotesPatch SRC: FOB (Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC)

Known flaws:

- Friend of the Devil cuts in at the beginning.  This was patched with the Schoeps source from :00 to :13
- Tape flip in Drums.  This and a few seconds of slightly degraded tape at the beginning of the second side were patched with the Schoeps source, from 3:52 to 4:10.

All patches made in CE Pro with levels matched and crossfades.

Quality notes: IMHO this sounds better than the Schoeps source on archive.org (which is still excellent, and used to patch a couple of spots in the second set).  First, it was taped right in the Phil zone and sounds every inch of it - it sounds like starting with Wang Dang Healy cranked up Phil and just left him there.  Second, Jerry and all the other instruments sound clearer, fuller and warmer, with more definition and separation.  It sounds a ghost of a hair's ghost away from being a Healy matrix.

Many thanks to Tim Alexander for lending me these phenomenal masters!

Source 18 of 21

<b>flac16</b> FOB Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC

gd1989-07-02.akg414.30363.flac16

View Notes<b>flac16</b>; FOB Schoeps cmc4/mk2 spaced 20' > PCM > DAT > CD > EAC > FLAC

Taper: Unknown

AKG c414>?>DAT>CD(1gen)>EAC>FLAC

gd89-07-02.nak.8243.sbefail.shnf

View Notesnotes:  this source is just as good as the other 
aud that cirucuatles, the scheops cmc4/mk2 > m118 FOB.
Well, I think the schoeps source is marginaly better, but 
that is on a refference system w/a critical ear and a matter 
of taste.
I tried to extract my schoeps dics, but was having too much trouble
with one of them so i moved on to this one.
~enjoy
(~):}

Taper: Jill and Rob R

3 Nak CM 300's - 2 CP 4's (Shotguns) 1 CP3 ( Super Omni ) arranged in an X-Y pattern

gd1989-07-02.aud.gastwirt.1110.sbefail.shnf

View NotesDigital Audience - Jill & Rob R
3 Nak CM 300's - 2 CP 4's (Shotguns) 1 CP3 ( Super Omni ) arranged in an X-Y pattern

Taper: Rich Gastwirt

Schoeps CMC42s spaced omnis > Sony SL-2000PCM