This is a tagged version of shnid:31510

Grateful Dead
9-19-70
Fillmore East
New York, NY
gd70-09-19.mtx-pset3.chappell.SB14.flac16

Sick Bits Vol. 14

Source: Matrix (SBD/AUD mix):

SBD: (shnid=5217) - via Seth Kaplan
MSR > DAT > CD or SBD> Rm> Reel> Dat> Sonic Solutions> CD> EAC> SHN

AUD: (shnid=25473) - via Jack Warner
Source 1: MAC (Taped by Jack Toner, Sony TC-110 with built-in microphone) > reel >
cassette > CD > Samsung SW-232B extraction (EAC v0.9 beta 4) > FLAC
Source 2: MAR (Taped by Marty Weinberg, AKG190E>Uher 400L) > Technics 1506 playback>
Cardas audiophile cables > HHB CDR 800 master CD > CD > Samsung SW-232B
extraction (EAC v0.9 beta 4) > FLAC
Toner A > D by Dwight Holmes
Weinberg A > D by Steven Martin > Dr. Michael Parrish > Warner
Patches and EAC > SHN by Jack Warner

Transfer/Editing:
Both sources were downloaded from the LlaMA and were converted to
WAV > Sony Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
11-11-05
____________________________________________________________________________________

--Grateful Dead Electric Set--
307-d3t01 - Dark Star ->
308-d3t02 - St. Stephen ->
309-d3t03 - Not Fade Away ->
310-d3t04 - Darkness Jam ->
311-d3t05 - China Cat Jam ->
312-d3t06 - Not Fade Away ->
313-d3t07 - Turn On Your Lovelight
314-d3t08 - Crowd noise > Youngbloods: Get Together... ->
315-d3t09 - Phil and Pigpen speak ->
316-d3t10 - Youngbloods: Get Together -> Crowd noise

--total Time--68:14--
____________________________________________________________________________________General Notes:

After doing the 2-19-71, I was searching the LMA for some old boyz that would
be suitable for a matrix when I found this gem in which only the end of the
show existed in SBD. I did a test on a portion of Dark Star and nearly lost
my mind when first hearing the combination. The SBD is excellent in quality
although it lacks a little low end made up by the source 1 AUD which is quite
nice for the "outside" sections of Dark Star. The source 2 AUD covers the end
of St. Stephen through Lovelight, and the crowd interaction with Pig Pen is
really amazing, something you just don't get with a soundboard recording.

Worthy of noting (not captured in the tracking notes) are the following events:
- d3t01 Feelin' Groovy Jam @ 16:09 - 17:35
- d3t07 Let It Rock riff @ 13:52
- d3t07 Pig Pen "let's fuck" @ 10:50 and "fuck!" @ 20:19
- d3t09 Pig Pen "Why don't you guys go home and fuck somebody" @ 0:16

Aside from the incredible Dark Star (with a prominent guiro in the mix), the NFA
jams are really intense with Garcia and Weir totally going at it, at one point
playing the same China Cat lick at the same time. The loony Lovelight is just
that, with Pig imploring people from the crowd to say something into the mic, and
one guy yells "hey, let's ball in the moonlight" (9:35) - the band on fire as they
follow Pig through his crazy Saturday night rant in NYC. The band is so blown out
(Garcia's hand gets a cramp and Bobby loses his voice) that they can't do an
encore. No matter, this shit simply smokes.

Ironically, this show was pretty easy to synch, with the pitch of both AUDs and
the SBD being relatively close to each other. What posed more of a challenge
was the multiple recording level changes in the Source 1 AUD which I tried to
smooth out, mostly sucessfully. Also helping matters is Bear's SBD mix which is
spot on, plus the quality is great, I just added some Fillmore ambience from the
awesome AUD recordings, the result hopefully close to what is what like at the
show - I wouldn't know, I had just turned 4.

-------Reviews from the LlaMA:

"Best dark star + lovelight. Pigpen is perfect. Best Dark Star for 1970. Pigpen's
rap is so great in Lovelight. My favorite pre 1972 show."

"The NFA>Darkness>China Cat Jam>NFA is ridiculous. I listen pretty seriously to
this stuff (70-79) and I would put this up there with the top ten sets of the era."

"This is one of the most beautiful transluscent Dark Stars ever played. The quiet
passages are simply amazing. I can't believe this was performed live on a stage in
front of an audience. It has such an intimacy to it."

"On this night, something extra seemed to be in the air. Was it the fact that
Jimi Hendrix had been found dead the night before (with Janis short to follow)?
Something pursuaded the dead that night in NY, and the emotions were bold as love."

-------Credits:

Thanks to Seth Kaplan for the excellent SBD extraction & conversion.
Thanks to Jack Toner and Marty Weinberg for their AUD recordings, and to
Dwight Holmes and Steven Martin for their respective A>D conversions.
Thanks to Dr. Michael Parrish for providing the Weinberg/Martin source.
Thanks to Jack Warner for the editing, assembly and conversion of the AUDs.
And, of course, thanks to the LlaMA for making this all possible.

Front Cover found at: http://www.geocities.com/deadpieshop/
All other art and layout by yours truly.

Enjoy!
Chappy


Appended to text file:

Shntool output
FLAC Fingerprint
Editing Notes
SBD & AUD source Notes


Editing Notes:

- Pitch
Both sources were very close in pitch, even between the two AUD sources.
I used the SBD as my master timeline and pitch referenced the AUDs to it.
Source 2 AUD was closer in pitch to the SBD than Source 1 AUD, but both
were never off more than a couple of cents.

- Synch
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched. Because the SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

- Sonic Quality/Matrix ratio
No EQ was applied to either of the three sources. There is some low end
distortion present in Source 1 AUD, and where it was noticeable (because
of multiple level changes by the recordist) I used the volume envelope to
diminish these sections (very few) so that the distortion is barely
noticeable. However, I didn't want to edit out these sections completely
or I would have lost the matrix, that being more noticeable than anything
else. The key was to keep the listening experience realistic. I applied
Waves L2 (limiter) to the master 2 buss to keep things contained, the
levels rarely hitting zero, thus the limiting is quite scarce. All I was
trying to do here is to add some dimension to the SBD by using the
ambience of the AUD. The result is a lively but clear recording, hopefully
close to how it sounded at the show. If I had to guess the SBD/AUD ratio
would be somewhere between 4:1 and 3:1.

- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline.

SBD:
d3t01 (0:00 - 0:06) - missing (crowd)
d3t07 (18:08 - 18:32) - left channel loses about 10db - left intact


AUD:
d3t02 (5:44:52 - 5:45:16) - dropout (used volume envelope to smooth out)
d3t03 (0:32:11 - 0:32:29) - dropout (used volume envelope to smooth out)
d3t07 (2:38 - 2:50) - missing (reel change)
d3t07 (18:48:37 - 18:48:40) - mic was bumped (used volume envelope)
d3t07 (20:28 - 22:08) - missing (crowd)
d3t08 missing (crowd and Youngbloods)
d3t10 missing (crowd and Youngbloods)

Note that alot of the missing elements from the SBD or the AUD source are
just crowd segments except for a reel change from the Source 2 AUD, thus
full coverage is achieved (for this portion of the show).
___________________________________________________________________
SBD text file:

Grateful Dead
9/19/70
Fillmore East
New York, NY
One Disc

Source info: S:MSR > DAT > CD or
SBD>Rm>Reel>Dat>Sonic Solutions>CD


1. //Sugar Magnolia > Tuning (02:16)
2. Dark Star > (25:23)
3. St. Stephen > (06:18)
4. Not Fade Away > (05:10)
5. Darkness Jam > (01:02)
6. China Cat Jam > (01:23)
7. Not Fade Away > (01:48)
8. Turn On Your Lovelight > (21:09)
9. Crowd noise >
Youngbloods: Get Together... > (03:29)
10. Phil and Pigpen speak > (00:23)
11. Youngbloods: ...Get Together> (01:58)

Total time: (70:24)

(Extraction and.shn encoding by Seth Kaplan via EAC and MKW.
Accurate extraction and properly aligned sector boundaries
verified via EAC and .shntool)

___________________________________________________________________
AUDs text file:

Grateful Dead
Fillmore East
New York, NY
September 19, 1970 [Saturday]

Source One: Master audience cassette (Taped by Jack Toner, Sony TC-110 with built-in
microphone) > reel > cassette > CD > Samsung SW-232B extraction (EAC v0.9 beta 4) >
tracking (CD Wave) > sector boundary verification (shntool v1.01) > .flac encoding

Source two: Master audience reel (Taped by Marty Weinberg, AKG190E>Uher 400L) >
Technics 1506 playback > Cardas audiophile cables > HHB CDR 800 master CD > CD >
Samsung SW-232B extraction (EAC v0.9 beta 4) > tracking (CD Wave) > sector boundary
verification (shntool v1.01) > .flac encoding

Thanks to Dwight Holmes and Dr. Michael Parrish for the sources

Toner A > D by Dwight Holmes
Weinberg A > D by Steven Martin
Patches and EAC > SHN by Jack Warner (jackmw1ATsbcglobalDOTnet)

Disc One (13) 58:08
--Acoustic set, partial--
01 Cold Jordan [2:33] >
02 Swing Low Sweet Chariot [2:53]

--NRPS set--
[m: Workin' Man Blues]
03 I Don't Know You [3:43]
04 Superman [3:34]
05 Whatcha Gonna Do [4:26]
06 Portland Woman [5:17]
07 Glendale Train [5:05]
08 Fair Chance To Know [4:07]
09 All I Ever Wanted [7:41]
10 Henry [3:39]
11 Lodi [3:33]
12 Last Lonely Eagle [6:47]
13 Honky Tonk Women [4:47]

Disc Two (6) 43:29
--Electric set, begin--
01 Morning Dew [10:52]
02 Me And My Uncle [3:26]
03 Good Morning Little Schoolgirl [10:11]
04 Cold Rain And Snow [5:54]
05 Easy Wind [8:43]
06 Sugar Magnolia [4:22]

Disc Three (4) 62:29
--Electric set, end--
01 Dark Star [25:36] >
02 Saint Stephen [6:18] >
03 Not Fade Away [9:25] >
04 Turn On Your Lovelight [21:09]

Disc one from source one, except d1t12 1:53 - end and d1t13 from source two

Disc two from source two, except d2t1 0:00 - 0:22, d2t2 0:00 - 0:16 and 3:24 - 3:26,
d2t3 0:00 - 0:07 and 10:09 - 10:11, d2t4 0:00 - 0:07 and 5:49 - 5:54, d2t5 and d2t6
from source one

Disc three from source two, except d3t1 0:00 - 0:15, d3t3 0:32 - end, and d3t4 from
source one


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