This is a tagged version of shnid: 94261

Grateful Dead
Aug 6 1971
Hollywood Palladium
Hollywood, CA
gd71-08-06.fob.kaslow-todd-smith.94261.sbeok.flac16


MR > R > CD > EAC > WAV > FLAC

MAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips.
(Will Boswell via Rob Bertrando) Maxell UD tape > CD
--- R copied @ 7.5 ips using a Revox A-77>A-77
--- Mastered to cd by Matt Smith
--- Playback info: R > Akai GX625 > apogee mini me (24/96) >
apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0
(dithered to 20/44) > CD ** > EAC > WAV (shntool confirms no sbes) >
FLAC (TLH)
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--Set 1--
101-d1t01 - Intro -> Bertha
102-d1t02 - Playing in the Band
103-d1t03 - Loser
104-d1t04 - Mr. Charlie
105-d1t05 - Cumberland Blues
106-d1t06 - Brokedown Palace
(missing) - Me and Bobby McGee
108-d1t07 - Hard to Handle
109-d1t08 - Casey Jones

--Set 2--
201-d2t01 - Saint Stephen
202-d2t02 - Truckin ' ->
203-d2t03 - Drums ->
204-d2t04 - The Other One ->
205-d2t05 - Me & My Uncle ->
206-d2t06 - The Other One ->
207-d2t07 - Deal
208-d2t08 - Sugar Magnolia
209-d3t01 - Morning Dew
210-d3t02 - Turn on Your Lovelight
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notes:

WRS Prelude tease after Me And My Uncle


I want to thank Will Boswell & Matt Smith for this gem, and especially
Matt for his generosity and friendship.

8/5 & 6 1971 are legendary audience recordings. They simply sound great!

While I'm sure you're content if not ecstatic with what you already have,
there are a few reasons to consider acquiring this dat-less version new
to general circulation (and please understand this isn't a competition
and I'm not trying to pit Charlie Miller against Matt Smtih).

The most recent version to circulate is the one Miller remastered:
http://db.etree.org/shninfo_detail.php?shnid=88816


I have no idea why Me & Bobby McGee is missing from this reel


There are a few reasons to put this source into general circulation:

1. It's important to preserve your right to choose
You're the expert in this case and can decide what sounds best to you.
You, the listener, should have the choice. it would be wrong of me to
hoard this and rob you of your choice in other words. when it's this
close I'm not going to arrogantly tell you what sounds better or best
to you.

2. Lowest hq generation sources should be available
Since we're dealing with hq sources in both cases, this source is
technically the lowest generation we have seen and should be in
circulation at a minimum. that should be a key goal to preserving the
music we love so dearly, to make hq sources with the lowest generation
available.

3. Known transfer
Another reason to add or prefer this source is we have no idea when or
how Miller's most recent versions of these shows were transferred
whereas we know Matt recently transferred this reel with
professionally endorsed techniques and high end equipment. we simply
know Miller received his DATs in 2000. As Miller explains, "I got my
DAT of this show back in 2000. I have no clue as to how it was
transferred. I'm sure Matt's A>D is better than the one in the deck
used back in 2000."
4. Unedited hq seeds should circulated at a minimum
Miller's source was "remastered" which isn't always a good thing,
especially if that's all we have. Raw, hq transfers, should circulate
at a minimum and are the best way to preserve the music. Once these
sources are available, then remasters may or may not be desirable.
But since remasters can make irreversible changes, locking us into
the subjective bias of the editor, we need these hq raw transfers
before we should consider possible enhancements. In this case, pitch
correction has proven to be tricky business. We've seen tech wizards
debate whether or not it was done correctly. Since it's very easy to
over or under correct, and even tech wizards often disagree, we can
only go on what feels, sounds, or seems right. Because of this
difficulty, we should make sure sources like this are available.

* Recorded By Harvey Kaslow and Craig Todd
(FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel
deck.

** For the purpose of archival documentation, here are additional notes
on how this seed was made, and why it was made this way. As Matt explains:

"My basic approach to transferring/mastering is LESS IS MORE. The basic
goal should be to attain the cleanest signal possible going TO digital.
It all starts with analog Equipment in top condition. I've had my
equipment restored and even the tape heads aligned. I also clean all the
heads/ect. every reel side I play which is also paramount. Audio cables
are very important as well to get a good clean signal. There can be a big
difference at times depending on whatever you are using which is a whole
other chapter. Now comes the most important part, the A/D conversion.
I personally use Apogees just because they are the best in our specific
usage IMHO. Apogee's are renowned for their 'UV22HR' dithering algorithm.
this specific algorithm is used in about 80% of all the mastering houses
across the country and most of the stuff you hear commercially uses this.
Even if dithered down to 16/44 it 'sounds' like a 24/96 to put in simple
terms. So basically load in at 24/96 then dither down and you've got
yourself a nice, clean file to work with. Now the DAT thing. DATS/CD
recorders are great but that's really the 'end of the chain' so to speak.
I don't mean to be a name dropper but when I was struggling trying to
learn the "what the hell's the difference??" debate Jeffrey Norman put it
best, "the A/D converters in DATS and CD's are compromised since it's
crammed with other equipment resulting in a loss of overall dynamics.
A stand alone A/D converter that was made specifically for that purpose
before going to DAT/CD/DAW is always the way to go if done correctly"...
This simple fact is mainly not even considered (or understood) by most
people but still, the most vital part in the transfer chain without
question. There is no doubt to me (and others) there is more dynamic
range or overall a more defined sound vs. something going into just a
DAT/CD recorder from analog. A nice fat(and clean) low end is also part
of the result as well lots of times that DAT transfers are missing at
times. Proper monitors are also very important too!! I have a Mini DAC
hooked into a Hafler 550 watt power amp going to a pair a very nice Audix
studio monitors. One needs to HEAR the flat uncolored signal when
editing anything IMHO. Otherwise something can be ruined forever b/c
some guy decides to NR/EQ and no one will know the difference 20 years
from now!! Original transfers should be treated with great care and
that's what I basically try to do to the best of my ability. When I get
it all done I also have the unique luxury of owning Jerry's old McIntosh
stereo system(MR77 tuner,C28 Pre and MC2105 power amp)"
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Tagging notes:
Show information is embedded within the header of each flac file.
It will display on any player capable of directly playing flac
files. If converted to wav during processing, all tags will be
stripped, however audio data will remain unaffected. If you must
transcode to a lossy format, do so directly Flac > Lossy.
Use ffp to validate audio integrity.
Md5 values will change if tagging is altered.
B. Proctor 7-03-09
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