This is a flac encoded & tagged version of shnid: 8045

GRATEFUL DEAD
Aug. 27, 1972
The Springfield Creamery Benefit
Old Renaissance Fairgrounds
Veneta, OR

I / II / III
LINEAGE SET I / II: SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM > D > SSSB
LINEAGE SET III: SBD > 4-TRACK RTR @ 7.5 i.p.s. > PCM > PCM > D > SSSB

Lineage: (SET I and II) SBD > Re-Mixed Master RTR > DAT > SSSB
Lineage: (SET III) SBD > Re-Mixed Master RTR > PCM (via analog inputs and outputs)> DAT> SSSB


SSSB Audio Rating: AR-2

LINEAGE: SBD > 4-track RTR > PCM via analog inputs > (Set III only:
extra PCM conversion using analog inputs) > D > SSSB;

other artist(s): NRPS; billed as "The Springfield Creamery Benefit";
"Casey Jones", "One More Saturday Night" are not encores, simply the end of the show
(some databases state these 3 songs "may be encores");
any/all editing, fades, NR, hiss elimination, phase shifting/"time smear" correction,
jitter elimination, and +/-2 dB max. EQ were performed using 100% digital-only processing
(32-bit/196 kHz data stream) at Serafin Station Studio B [this show was released in 10/01]
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--Set 1--
101-d1t01 Stage Announcements, Intros, Gift Presentations
102-d1t02 The Promised Land
103-d1t03 Sugaree
104-d1t04 Me & My Uncle
105-d1t05 Deal
106-d1t06 Black-Throated Wind
107-d1t07 Stage Announcements
108-d1t08 China Cat Sunflower ->
109-d1t09 I Know You Rider
110-d1t10 Stage Announcements
111-d1t11 Mexicali Blues
112-d1t12 Bertha

--Set 2--
201-d2t01 Playing In The Band ->
202-d2t02 Playin' Jam ->
203-d2t03 Playing In The Band Reprise
204-d2t04 Stage Announcements
205-d2t05 He's Gone
206-d2t06 Stage Announcements
207-d2t07 Jack Straw
208-d2t08 Bird Song
209-d2t09 Stage Announcements
210-d2t10 Greatest Story Ever Told1

--Set 3--
301-d3t01 Dark Star ->
302-d3t02 "Jazz Star" Jam ->
d303-3t03 El Paso
304-d3t04 Sing Me Back Home
305-d3t05 Stage Announcements
306-d3t06 Sugar Magnolia
307-d3t07 Stage Announcements
308-d4t01 Casey Jones
309-d4t02 One More Saturday Night
310-d4t03 Stage Announcements
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JAY'S PERSONAL COMMENTS:

I have to say this was probably one of the most difficult shows I ever had to work on...
EVER! Many reasons for this are able to be disclosed (which they will be), but some are
verified confidential information which came from my Marin County source who sent me the
best possible masters for this show.

Set I and II: Due to the tape reels being plastic, rather than the usual metal type, when
the tapes were archived to PCM, there were static problems which occurred due to the ambient
electrical charges which occur when tape reels are fast forwarded and fast rewound to
"loosen up" the tape. The static discharged through the tape layers, rather than through
the metal reels, so the audio wound up becoming filled with little "pops, ticks, and
crackles" throughout a lot of the layers of tape.

To eliminate these very annoying (and very audible!) noises, I had to MANUALLY do and edit
them out. Close to 3,000 total edits were performed for Set I and almost 2,500 edits for
this same problem for Set II. This is why it took close to 8 weeks of work to get this show
completed. Of course, I was working on other shows as well, but 90% of the time spent on
this wonderful show was on literally looking at every second of audio, scrolling slowly
forward, to find these problems. It would have been "nicer" if the static pops were almost
identical in their waveform, as I could have had the editing software find them for me,
and I would just edit them out. But, they varied to much in the way they appeared in the
audio, that there was no "automatic" way to find these little buggers. I spent close to
120 hours on finding these items, but then I was done, I only had to "eliminate" less than
45 total seconds from the entire show, due to my not being able to correct the static noise
by simply removing the offending part of the sample (each static "pop" was approximately
0.00025 seconds in length, so just eliminating the deformed part of the waveform too very
little time away from the entire show), but having to eliminate an entire sample or part
of a waveform (about 0.001 seconds in length). But the elimination of these annoying parts
did not affect the way the end result audio sounds. There's no "stuttering" or noticeable
missing audio. By performing the editing the way I did, it eliminated all of this "unwanted
perverting" of the audio. There are only a few very minor pops left, which could not be
eliminated without affecting the audio as a whole, so I simply lowered the volume of the
offending noise, so it's just barely perceptible. With the usual amount of original RTR
analog tape hiss from the decks being used at the slow speed, plus the analog transfer of
the RTR > PCM (they did not do it in the digital domain for reasons I cannot divulge here),
there was a fair amount of hiss throughout Sets I and II. I was able to reduce the amount
by more than 85%, but there is still a very slight amount of hiss left, which is only
noticeable during the between-song lulls, tunings, and the stage announcement, and ONLY if
you have your audio cranked up REALLY HIGH! The amount of hiss I was able to remove,
without affecting the audio, was so "massive", there were parts of the between song lulls
where the band members were talking amongst themselves, etc., and that could not be heard
at all, due to the original hiss. Now, you are able to hear EVERYTHING that was originally
fed into the RTR decks!

Set III: This came from a totally different set of archive tapes, which had more underlying
hiss to them (due to the extra PCM transfer in the lineage), but the overall audio was better
them most of the versions out there. So, even more noise reduction using different
techniques, was used, and the result was close (and to a slight degree, even better than
the Set I/II reduction!). There was a point, beginning with "Sing Me Back Home", where you
could hear that someone did some adjustment to the RTR deck, and this hiss rose dramatically
from that point to the end of the show. So, not only was I faced with a "different" type
of hiss, I had to now "match" the EQ curve of the audio to anything prior to that song!
It was a lot of work, but it was also a lot of fun, as this was one of my most challenging
releases of a show I had ever attempted.

Overall, there is a LOT more total show audio than in almost all of the versions in
circulation. Close to 10 minutes of "additional material" is in this release.

To perform all of the special static noise, I had to revert to converting the show from
it's usual 16-bit/48.0 kHz data rate to the highest rates my software, sound card, and
digital mixer can handle, which is 32-bit / 192 kHz sampling rate! This is better than
DVD's audio, which is 24-bit/96 kHz sampling. But I needed to see more of the waveform,
and to be able to manipulate the waveforms in such a precise manner. When I "down-converted"
the audio to the standard for CD's, which is 16-bit / 44.1 kHz, I was able to move the
quantization noise up into the 20 kHz range, which is well past the point if human hearing.
Also, since this show contained very little in the way of high levels of audio above 14 kHz,
it did not affect the "harmonics" and the subtle nuances which a lot of people would hear
up in the 18-20 kHz audio range with a lot of music. So, everyone will hear all of the
audio just as is was recorded onto the RTR decks, only with a much cleaner sound. I had to
perform very little in the way of "trimming" of the show's audio for the reel flips and the
PCM tape changes. From my editing notes, I was able to remove just under 50 total seconds
of total show audio to perform the necessary crossfades. This is the best I could do with
the masters I received, and I hope that everyone is happy with the results. I certainly
was, and I am never totally happy with my "final release" versions of any show I've ever
worked on!


Uploaded exclusively to GDLive.com by:
John "Jay" Serafin, owner/audio engineer @ Serafin Station Studio B
"Making Kindness Dubs For Everyone!"
No Profits Or Copyright Infringements EVER!
Web Info: http://members.home.com/kinddubs
E-Mail: kinddubs@home.com
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Caveat:
Charlie Miller emphatically states at etree that there were no 4 track recordings made of
this show. Jay Serafin listed 4 track sources on several of his releases and all have been
called into question. Regardless, this source sounds excellent though the tracking is
not ideal. There are also sector boundary errors between each track. If you are planning
to burn to CD, you will either have to fix this version or download another source.

Flac encoding notes:
All processing with Trader's Little Helper
Shn - st5 generated
Shn > Flac ( level 8 )
Flac - st5 generated and matched to Shn st5

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B.Proctor 12-26-12
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