Space > | 1993-09-28 | Grateful Dead

View NotesGeneral Notes:

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their prior efforts.

- Both sets are seamless.

- So Many Roads.

Technical Notes:

- I cleaned up a few imperfections in the SBD source using Izotope RX 2 Advanced.

- I lowered the gain of the Larsen source by 4dB, from the beginning of Set 1 through the opening of "Greatest Story," at which point it seems that the taper turned the input down.

- I remastered the SBD and the AUD sources individually, prior to combining them. The files were remastered and mixed in Logic Pro 9.  They were split in WaveLab LE 7.  SBE's were fixed using Trader's Little Helper.

- Speed correction (using Izotope Radius in Logic Pro 9):

Pujol AUD: -0.075% (speed) / -1 cent (pitch)
Larsen AUD: -0.037% (speed)

More fine-grained syncing was done manually.

- There are several spots during the show at which the SBD and the AUD sources differ in more or less dramatic ways.  It seems that some processing was done to the signal coming from the SBD after it was sent to the tape but before it was sent to the speakers.  These include: the exploding bass drums at the end of "Touch of Grey" and the beginning of "Greatest Story" on the AUD copies.  The most significant spot occurs toward the end of "Row Jimmy": on both of the AUD sources, some sort of reverb is suddenly applied to the vocals, or perhaps the entire mix.  (You can hear the crowd react to it.)  This change is not on the SBD.  The result, as far as this matrix goes, is that it sounds as though the SBD and one or more of the AUD sources have gone out of sync.  But they have not.  In other words, the matrix is in places more echo-y than I would like, but I know of no way to get rid of the problem, short of cutting the AUD sources entirely, which would obviously defeat my purpose.

- During "Throwing Stones," two seconds are missing from the Pujol source.  There is no break; the source simply skips ahead two seconds.  I fixed the problem.

Roger Eichorn
reichorn@gmail.com
August 11, 2013

Transferrer: Charlie Miller

2:42:12

SBD

gd1993-09-28.sbd.miller.79058.sbeok.flac16

Source:

SBD -> Dat (48k)

Lineage:

Dat (Sony D8) -> Samplitude Professional v7.02 -> FLAC

Taper Notes:

View NotesNotes:
-- Set 2 is seamless

Transferrer: Marc Pujol and Charlie Miller

Marc Pujol and Charlie Miller

SHNID:

gd93-09-28.aud-sbd.miller.12850.sbeok.shnf

Source:

Set 1: Audience; Set 2: Soundboard

Taper Notes:

View NotesLineage:
Set 1: Schoeps>Dat>Sound Forge>CD (previous aud shn seed via Marc Pujol et. al.)
Set 2: SBD>Dat>Cm>Dat>Samplitiude>CD

Dat>CD Transfer for sbd portion done by Charlie Miller

Transferrer: Roger Eichorn

gd1993-09-28.126746.mtx-redo2.eichorn.sbeok.t-flac16

Source:

Matrix from Source 1: SBD Recording Info: SBD -> Dat (48k); Transfer Info: Dat (Sony D8) -> Samplitude Professional v7.02 -> FLAC Source 2: AUD Source: A: NeumannShotguns>DAT;

Taper Notes:

View NotesThis is the *third* matrix of this show that I've released.  The first two were released in rapid succession in August 2013 (within a week or two of my first starting to make matrixes).  Why am I releasing a new version of the show now?  If you compare this release to either of the two earlier ones, you'll have all the answer you need!

FRESH LEGS, VOL. 2  (Matrix)
freshdeadlegs.wordpress.com/
www.facebook.com/freshdeadlegs/

General Notes:

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their efforts.

- This show is one of my personal favorites.  It's also a bit of a sentimental favorite, seeing as it was supposed to be my first Dead show.  Alas, it didn't work out, and I had to wait still longer before seeing them.  It's a very strong show, worthy of your attention even if you're leery of late-era Dead.

The highlight of the show is undoubtedly the "So Many Roads," which is the best one I've ever heard by a long shot.  The "China Cat/Rider" is also very, very nice: it's got my personal favorite "Wish I was a headlight..." verse.  The "Uncle John's Band" has less flubbing of the lyrics than usual; you can tell, if you listen close, that Jerry was into it and was hearing the melody in new ways (as he often did in later years), but had no space to explore because of the harmonizing.  The "Attics of My Life" and "Row Jimmy" are both very nice as well, as they often were around this time.  Finally, it's got one of my favorite "Drums."

Source Notes:

- I cleaned up a number of imperfections in the SBD source using iZotope RX 3 Advanced.

- During "Throwing Stones," two seconds are missing from the Pujol source.  There is no break; the source simply skips ahead two seconds.  I fixed the problem.

Technical Notes:

- The sources were remastered and mixed in Logic Pro 9.  Clean-up was done using iZotope RX 3 Advanced.  The sets were split in WaveLab LE 7.  SBE's were fixed using Trader's Little Helper.

- I speed- and pitch-corrected both AUD sources using the iZotope Radius algorithm.  Fine-tune syncing was done in Logic Pro 9.

Roger Eichorn
freshdeadlegs.wordpress.com
www.facebook.com/freshdeadlegs/
January 15, 2013

Transferrer: Matrix by Roger Eichorn

2:31:31

SBD

Transferrer:

Matrix by Roger Eichorn

SHNID:

gd1993-09-28.125461.-redo.mtx.eichorn.sbeok.t-flac16

Source:

Matrix of Source 1: SBD Recording Info: SBD -> Dat (48k); Transfer Info: Dat (Sony D8) -> Samplitude Professional v7.02 -> FLAC, Source 2: AUD Source: NeumannShotguns>DAT;

Taper Notes:

View NotesGeneral Notes:

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their efforts.

- Both sets are seamless.

- So Many Roads.  Seriously.  Listen to it -- loud.

Technical Notes:

- The sources were remastered and mixed in Logic Pro 9.  They were split in WaveLab LE 7.  SBE's were fixed using Trader's Little Helper.  Final mastering was done in iZotope RX 2 Advanced.

- Speed correction (using the iZotope Radius algorithm in Logic Pro 9):

Pujol AUD: -0.075% (speed) / -1 cent (pitch)
Larsen AUD: -0.037% (speed)

More fine-grained syncing was done manually.

- I cleaned up a few imperfections in the SBD source using iZotope RX 2 Advanced.

- I lowered the gain of the Larsen source by 4dB, from the beginning of Set 1 through the opening of "Greatest Story," at which point it seems that the taper turned the input down.

- During "Throwing Stones," two seconds are missing from the Pujol source.  There is no break; the source simply skips ahead two seconds.  I fixed the problem.

- There are several spots during the show at which the SBD and the AUD sources differ in more or less dramatic ways.  It seems that some processing was done to the signal coming from the SBD after it was sent to the tape but before it was sent to the speakers.  These include: the exploding bass drums at the end of "Touch of Grey" and the beginning of "Greatest Story" on the AUD copies.  The most significant spot occurs toward the end of "Row Jimmy": on both of the AUD sources, some sort of reverb is suddenly applied to the vocals, or perhaps the entire mix.  (You can hear the crowd react to it.)  This change is not on the SBD.  The result, as far as this matrix goes, is that it sounds as though the SBD and one or more of the AUD sources have gone out of sync.  But they have not.  In other words, the matrix is in places more echo-y than I would like, but I know of no way to get rid of the problem, short of cutting the AUD sources entirely, which would obviously defeat my purpose.

Roger Eichorn
reichorn@gmail.com
August 16, 2013

Taper: Dan Rogosa

Charlie Miller, Mark Goldey

SHNID:

gd1993-09-28.164516.me88.rogosa.flac1648

Source:

2x Sennheiser ME 88's (stand) > Sony TCD-D7

Lineage:

Transfer: MDAT > Fostex D-15 > Tascam DA-3000 > WAV @ 16/48 Master: Wavelab 11 (tracking, fades, remove DC offset) > FLAC 1648

Taper Notes:

View NotesThanks to Dan for taping and Charlie Miller for facilitating

The fourth of six nights at Boston Garden.

Enjoy!

--mhg :: 2023-04-23

Taper: Rich Gastwirt

Charlie Miller and Scott Clugston

SHNID:

gd1993-09-28.140131.schoeps.cmc4.mk4.gastwirt.miller.clugston.flac1648

Source:

Rich Gastwirt's Master Audience Dat 16/48; Schoeps CMC4/MK4 -> Oade P/S -> Panasonic SV-255

Taper Notes:

View NotesNotes:
- Thanks to Rich Gastwirt for the master Dat source
- Thanks to Charlie Miller for the transfer
- Thanks to the folks responsible for the shnid87780 nakamichi cm300 source that was used to patch a 0:02 dropout in "New Minglewood Blues"

Mastered by Scott Clugston
12/4/17

Source 8 of 15

2:38:03

SHNID:

gd1993-09-28.172811.mtx.eichorn2025.143772.t-flac1644

Source:

2-Source Matrix by RE Eichorn (July 2025)

Taper Notes:

View NotesBack in 2013, in a fit of youthful enthusiasm, I released several (!) matrixes of this show. They are all garbage, with the possible exception of the final version, which is surprisingly listenable, to my ears. Even so, I believe this new matrix is superior to my old efforts in every way, and I'm releasing it now in an effort to atone for the sonic sins of my past.

Why is this matrix superior to my old attempts? The AUD source is newer and better; I have a much more efficient and effective method; and I know a lot more about mixing and mastering now than I did twelve years ago. Is this new matrix perfect? --No. But is it currently the best, most "well-rounded" source available for this show? --Yes, I believe it is.

Your mileage may vary, of course. But I hope that anyone who finds their way to this matrix will enjoy it. A late-late-era show, but quite a good one, I think! The So Many Roads is the best ever, for my money, and I think the China Cat > Rider is the definitive late-late-era version.

-- Thanks go to everyone responsible for making the sources used in this matrix and for making them available.

-- I try to take a "less is more" approach when it comes to mastering (EQ and the like), but in the case of this show, I found that the SBD source was improved greatly by the use of what's called "Dynamic EQ" to tame some of the drums, specifically Billy's bass drum and Micky's aggressive toms. They're much less overpowering now, but without sacrificing the punch of Phil's bass or the power of the low-end in general, I think. I hope you agree.

-- A curiosity: I always assumed that '93 SBD recordings simply replicated the mix that was sent to the sound system at the venue, but apparently that's not the case. About 3 minutes into "Minglewood," Vince launches into an organ solo that's almost entirely absent from the SBD, but can be heard clearly (at least at first) on the AUD source.

Taper: Doug Lamarre

gd1993-09-28.139981.aud.lamarre.berger.flac1648

Source:

<b>flac16/48kHz</b>; aud dat master, sennheiser 441's>denon dtr-80, taped by Doug Lamarre, transferred & seeded by Rob Berger

Taper: Dave Boedicker

gd1993-09-28.128694.boedicker.flac16

Source:

Source:Sony D6 Cassette Master>Nakamichi 300 Mics W/CP4 Shotguns>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,Taper; Section,Section 38,Row CC,Seat 14

Taper Notes:

View Notes1)Quality IS About A Or A-(Subjective Of Course.)

2)Tape Flip After "So Many Roads"(First Few Seconds Missing At 

Beginning Of Next Song"Masterpiece").

3)Tape Flip During "Drums"

Enjoy!!!

Taper: Jim Birkhead

gd1993-09-28.neumann-birkhead.koucky.87989.flac16

Source:

Neumann km 82i > Sonosax SX-PR power supply > Sony TCD D10 PRO II DAT x1

Lineage:

Panasonic SV-3700 > M-Audio Audiophile 2496 to 48 khz Wavelab 5.0 mastering with iZotope Ozone 3 > dithered to 44.1 khz > CDWAV1.9 > FLAC (level 8).

Taper: Andrew F

gd1993-09-28.nak300.andrewf.87781.flac16

Source:

Nakamichi CM-300's w/CP-4 shotgun capsules > Casio DA-7 > Sony DT-Dat tape. Mics on 7-foot stand, pointed at stacks, floor OTS aprx 2 or 3 rows behind soundboard.

Lineage:

MAD > Sony TCD-D10P > SPDIF > Audiophile 2496 > Soundforge (at 48kHz) > CD-Wave > R8Brain v1.9 (downsample to 44.1kHz) > TLH > FLAC.

Taper Notes:

View NotesNotes: 
- Break between D2 and D3 is seamless. 
- Soundforge used to make fades. 
- TLH used for SBE-OK, FLAC compression, and making checksums.

Taper: Andrew F

gd1993-09-28.nak300.andrewf.87780.flac1648

Source:

Nakamichi CM-300's w/CP-4 shotgun capsules > Casio DA-7 > Sony DT-Dat tape. Mics on 7-foot stand, pointed at stacks, floor OTS aprx 2 or 3 rows behind soundboard.

Lineage:

MAD > Sony TCD-D10P > SPDIF > Audiophile 2496 > Soundforge (at 48kHz) > CD-Wave > TLH > FLAC.

Taper Notes:

View NotesNotes: 
- Soundforge used to make fades.  
- TLH used for FLAC compression, and making checksums.

Taper: Tapes provided by Tom and Roger

2:38:31

Taper:

Tapes provided by Tom and Roger

Transferrer:

Conversion by Chris Larson

SHNID:

gd1993-09-28.neumann.larson.28899.shnf

Source:

NeumannShotguns>DAT

Lineage:

DAT>ZA2 (S/PIDF)>Samplitude 2496>CD-r (or shn)

Taper: Dave Minor

gd93-09-28.schoeps.pujol.12378.sbeok.shnf

Source:

Audience: Schoeps