This is a tagged version of shnid: 112900

Grateful Dead
June 22, 1976
Tower Theatre
Upper Darby, PA

Jerry Garcia - Lead Guitar, Vocals
Donna Jean Godchaux - Vocals
Keith Godchaux - Keyboards
Mickey Hart - Drums
Bill Kreutzmann - Drums
Phil Lesh - Electric Bass, Vocals
Bob Weir - Rhythm Guitar, Vocals

*Matrix*

----------------------------------------------------
SBD (shnid=112218):

Recording Info:
SBD -> Master Cassette -> Apogee Ensemble -> Peak -> AIFF

Transfer Info:
AIFF -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

All Transfers and Mastering By Charlie Miller
charliemiller87@earthlink.net
October 24, 2008

[Cuts]:
U.S. Blues (2:11 - 2:22)
The Music Never Stopped (4:06 - 4:19)
Cassidy (3:00 - 3:14)
Promised Land (1:32 - 1:58)
Samson And Delilah (4:45 - end of track)
Beer Barrel Polka (complete track)
Eyes Of The World (complete track)
Dancing In The Street (0:00 - 6:53)
One More Saturday Night (1:48 - 2:35)

Notes:
-- All disc changes are seamless
-- There was a lot of static which I cleaned as best as I could
-- Playing in The Band contains a Happiness Is Drumming Jam
-- Thanks to Digitalrbb for the supplying and digitizing the tapes
-- Thanks to Joe B. Jones for his help with the pitch correction

----------------------------------------------------
AUD (shnid=112789):

Recording Info:
Unknown Mics -> Master Cassette (Nakamichi 350)

Transfer Info:
Cassette Master (Nakamichi CR-7A) -> Apogee Ensemble -> Peak -> AIFF

Mastering Info:
AIFF -> Samplitude Professional v11.2 -> FLAC
(3 Discs Audio / 2 Discs FLAC)

Transferred By Digitalrbb
Mastered By Charlie Miller
charliemiller87@earthlink.net
April 9, 2011

Patch Info:
AKG D1000 -> Master Cassette -> Reel -> FLAC (shnid=99093) supplies:
Tennessee Jed (2:58 - 6:45)
One More Saturday Night (3:36 - end of track)

Notes:
-- All disc changes are seamless
-- Show was recorded by a band crew member with mics placed at soundboard
-- Playing in The Band contains a Happiness Is Drumming Jam
-- Thanks to Digitalrbb for the tapes

---------------------------------------------------
Thank you to Charlie Miller & Digitalrbb for the SBD transfer,
to the Grateful Dead crew member for recording the show,
and to Charlie Miller & Digitalrbb for the AUD transfer.

Matrix by Hunter Seamons using Final Cut Pro (FLAC > AIFF > Soundtrack >
Final Cut > AIFF CD tracking via Audacity > FLAC16 via xACT)
April 20, 2011
____________________________________________________________________________

--Set 1--
101-d1t01 - Tuning
102-d1t02 - U.S. Blues
103-d1t03 - The Music Never Stopped
104-d1t04 - Crazy Fingers ->
105-d1t05 - Comes a Time
106-d1t06 - Big River
107-d1t07 - Tennessee Jed
108-d1t08 - Looks Like Rain
109-d1t09 - They Love Each Other
110-d2t01 - Cassidy
111-d2t02 - Ship of Fools
112-d2t03 - The Promised Land

--Set 2--
201-d2t04 - Tuning
202-d2t05 - Playing in the Band ->
203-d2t06 - Drums with Phil ->
204-d2t07 - The Wheel ->
205-d2t08 - Playing in the Band
206-d3t01 - Samson & Delilah
207-d3t02 - Beer Barrel Polka
208-d3t03 - Eyes of the World ->
209-d3t04 - Dancing in the Street
210-d3t05 - Around & Around ->
211-d3t06 - Goin' Down the Road, Feeling Bad ->
212-d3t07 - One More Saturday Night
____________________________________________________________________________

Notes:

1) Lots of static was removed from the SBD using Soundtrack Pro.
There remains some subtle static, pops, hiccups, and occasional weirdness.
____________________________________________________________________________

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B. Proctor 4-28-11
____________________________________________________________________________
The Matrix Sound Structure
as a Reflection of the Four Winds
By Hunter Seamons
2
The notion of the �Four Winds� as a structural reality, whether it is physical,
metaphysical, or a dimensional aspect of our psyche, has been expressed throughout
many different cultural mythologies. This widely shared view of the world being ordered
by �four energies� suggests that the Four Winds are a real archetypal structure of
existence that is worth exploring. Here are some examples we find:
The Egyptian Book of the Dead mentions the deity, Thoth, opening the doors to the Four
Winds.
The ancient pyramids, which have cosmological significance, are typically four-sided.
The Hebrew Bible mentions the Four Winds in Zechariah 2:6: �I have spread you abroad like
the four winds of heaven, says the Lord.�
Ancient Greek science posits four primary elements of the universe: earth, air, fire and water.
Greek mythology speaks of the Anemoi, or the four winds: Boreas, the north wind; Zephyrus,
the west wind; Notus, the south wind; and Eurus, the east wind.
The Hindu deity, Brahma, who symbolizes the Supreme Reality, is usually conceived of by
Hindus as a bearded, four-faced, four-armed deity.
The eight-sided Tower of Winds in Athens (pictured above), constructed around 50 B.C.E.,
depicts eight winds in a frieze around the top. While having eight sides, the tower can
symbolically correspond to the Four Winds' eight-dimensional polar nature, which we will
look at and discuss later. The Tower of Winds could be the actual �Franklin's Tower�
mentioned in the Grateful Dead song of the same name, �where the four winds dwell.�
The early Christians stressed the importance of having four gospels rather than one.
A popular saying within Navajo culture is, �May the four winds from the four corners of the
heavens blow gently upon you.�
3
Psychologists like Carl Jung have used mythological archetypes, such as the Four Winds, to
explain the nature of the psyche, the inner universe, saying that humans quadrate the world
through mythic images.
Dr. Robert Moore, a reputable spiritual psychologist, has posited that the four quarters of
mythology - the quarters of the King (or Queen), the Warrior, the Magician, and the Lover -
are archetypal images, or energies, of the human Self that reside within all of us. Learning
about these four very real archetypal energies and how we can relate to them, or balance
them, is part of the process of individuation, or personal and spiritual growth.
Taking all these examples into consideration, we will explore how stereophonic sound -
which can be uniquely expressed as �quadraphonic� matrix sound, having greater aural
depth and resonance - is based on a fundamental four-fold audio structure that reflects
the mythological Four Winds of the universe.
We will begin by looking at the image,
�Thoth of the Four Winds,� a rendering from
ancient Egypt that depicts the deity, Thoth,
opening the doors to the Four Winds in four
different spaces. The picture shows Thoth
either standing in two opposite directions -
towards east and west - or standing on two
opposite planes - a northern plane and a
southern plane. What is not immediately
apparent but can be gleaned from deeper
meditation on the image is that each of the four
directions represented have an expressed
polarity: the �North Thoth� is two in nature by
showing two Thoths on the northern horizontal
plane; the �East Thoth� is two in nature by
showing two Thoths within the eastern vertical
plane; the �South Thoth� is two in nature by
showing two Thoths on the southern horizontal
plane; and the �West Thoth� is two in nature by
showing two Thoths within the western vertical
plane.
The image thus conveys the ancient
Hermetic Principle of Polarity, which embodies
the truth that all manifested things have �two
sides�; �two aspects�; �two poles�; a �pair of
opposites,� with manifold degrees between the
two extremes. In this respect, we can think of
The Four Winds as having an eight-fold
dimensionality. The question then arises, what
are these �two aspects� or �two poles� of the
Four Winds? This mystery can be made clearer based on the Hermetic Principle of
Gender, which embodies the truth that there is Gender manifested in everything - that
the Masculine and Feminine principles are ever present and active in all phases of
phenomena, on each and every plane of life. We should keep in mind that the term
�Gender� does not refer exclusively to sex, which is merely a manifestation of Gender; it
should be interpreted in a broader sense as referring to that which creates, produces, or
4
generates, but the use of �Masculine� and �Feminine� help us to understand that there is
a relational distinction between two opposites that are of the same kind or nature. So,
based on this Hermetic Principle, there are equally Masculine and Feminine aspects of
the Four Winds that make up its eight-fold dimensionality. If the two-dimensional Thoth
image is a bit confusing with respect to polarity, we can turn to the Egyptian pyramids
themselves, which are three-dimensional and four-sided, to better understand this Four
Wind theory of reality.
Here we have an image of a quadrilateral pyramid inverted on itself - an
octahedral diamond (or �double-quaternio�) that expresses the pyramid's geometric
polarity when mirrored underneath - which is a better representation of the symbolically
�eight-sided� Thoth image. The top point is the Male pole of the Four Winds, and the
bottom point is the Female pole; yet the Four Winds all exist within the same dimension
and are integrally related. Looking at the Male or Female pyramid, there are two pairs of
opposite sides that can be viewed as representing the two horizontally intersecting
polarities of the Four Winds. This symbolically corresponds to the two pairs of Thoths
facing each other that we saw. The third polarity is the Male/Female vertical dimension,
which is what gives the Four Winds depth and three-dimensional complexity.
Imagining this figure as a mirrored Egyptian pyramid, we notice that the top point
reaches to �heaven� and the bottom point reaches to earth - again, the lower pyramid is
represented here to show the upper pyramid's complete geometric polarity, as if the
sand were the sea and reflected the pyramid downward, making the lower half to be the
pyramid's �hidden� geometric essence. The Egyptians were tapping into fundamental
archetypal structures of existence by building the pyramids, and we have much to learn
from them. The pyramids can even be viewed as sculptural codes for deciphering
different levels of spiritual or psychic phenomena.
5
Here is the �Four Winds� diamond image again but translated to describe a
�matrix� audio structure, which is a blend recording of a live concert. In matrixes the
soundboard recording - the Masculine pole - is married to an audience recording - the
Feminine pole (or vice versa) - to produce a deeper and more integrated sonic form,
which is why people can have a more profound experience listening to them. They tap
into the human psyche more decisively, being more �whole� in their nature, and
communicate on a deeper level, both sonically and spiritually. It is important to note that
this octahedral shape ultimately gets mixed down into a single pyramid configuration as
stereo audio, but a two-channel matrix nonetheless expresses its �hidden� and complete
polarity more effectively than a straight soundboard that lacks integration with its
�Feminine� side. What is at stake with a matrix, however, is whether a particular
�Male/Female� pairing will be a good match in terms of sound quality.
In order to explain the pyramid shape of two-channel audio that is being
presented here, we will now examine how stereophonic sound - which is the most basic
form of sound reproduction where an illusion of directionality and audible perspective is
created - has a four-fold structure that reflects the mythological Four Winds of the
universe. From the examples and images we have looked at, the Four Winds function in
a way that is dimensional by creating and/or influencing the world in a three-dimensional
fashion (or a four or five-dimensional fashion, as the case may be, but I will use �threedimensional�
here for analogical purposes), just as stereophonic sound creates and/or
influences dimensionality. To explain this in detail, here is a quote from an interview
conducted by David Gans with Owsley �Bear� Stanley, a longtime soundman for the
Grateful Dead, where he describes sound as a physical, dimensional reality:
�I have a strong tendency to use sculptural viewpoints in most things. For instance, when I'm
working with sound, I work with sound in a three-dimensional fashion, which to me is
palpably three-dimensional...it is physical, and you can walk through the hall and feel its
shape and change. For instance, you experience a certain spatial form - dimensionality - if
you listen to Old & In the Way with a set of headphones or something. Even with speakers:
move around the room - you seem to be moving around the stage. It changes as you move
around. It's like one time you'll be on one side, one time you'll be on another side, sometimes
6
you'll be in the middle of it. It's always coherent. It's always three-dimensional, and this
spatial image changes and your perception of it changes, but it seems palpable. It seems
real, like a sculpture. It's the way I look at sound. It flashes back to that time when I saw the
sound coming out of the speakers.�
Going further on the topic, Stanley addresses the nature of stereophonic sound, which,
having only two channels, creates a three-dimensional space in the mind:
�I still only use two [audio] tracks. You don't need more than two because the way in which
your ears work. You've only got two ears, but you can detect all kinds of different things with
the information from two auditory sensing units - one on each side of your head. Those two
units create a totally three-dimensional space in your mind, and that three-dimensional space
which is created from your senses is as illusory as the reality of the sound. But what your
ears do is they tap into the total matrix of what is in the room: all the energy that's in the
room, whether it's bouncing off a wall or coming from the speaker or whatever, enters your
ears and, inside, your brain sorts it out.�
This quote illustrates the phenomenon of experiencing three-dimensional sound in the
mind through a form of audio reproduction that correlates to our anatomy of aural
perception: each ear requires a discrete channel of sound in order for the �aural image�
to be complete, or sonically whole, as a three-dimensional experience.
Now that we have established stereophonic sound as being the most basic form
of three-dimensional audio � whether one is using headphones or not � we will now
explore how it can be viewed as having a four-fold structure despite it having only two
channels. Here is where we can apply the Hermetic Principle of Polarity to one channel
of audio to reveal two sides of its sonic nature.
The figure above shows a minuscule segment of an audio waveform in terms of
time. The waveform represents an air pressure wave, where the air is the medium
through which the sound travels. The air is vibrating because of very rapid oscillations
between high and low pressure in relation to the ambient pressure. The ambient
pressure is what the existing pressure of the air is, but the sound vibrations alter this
pressure in a wave-like motion. Areas of high pressure are known as compressions - the
space above the ambient pressure line - while areas of low pressure are known as
rarefactions - the space below the ambient pressure line. The grey bar above the
waveform is like a pressure meter, showing the oscillation between high and low
pressure. The darker areas represent higher pressure, while the lighter areas represent
lower pressure. The height of the wave is its amplitude. Greater amplitude means the
sound will be louder.
7
The last detail to point out in this diagram is the red line that travels through one
complete area of compression and one complete area of rarefaction, which represents a
wavelength, or one period of the waveform. We can see a complete polarity cycle of high
and low pressure in this wavelength, which will repeat again and again at varying
degrees as the sound changes. This oscillation between high and low pressure is similar
to an expanding and contracting motion, or the give-and-take movement that happens
between two opposite forces. Such vibratory patterns reveal the Hermetic Principle of
Polarity operative in a waveform, which cannot exist without having a dynamic tension
between high and low pressure. It follows from this that one channel of sound is
composed of two aspects of sound expression - one within the field of compression and
one within the field of rarefaction, which operate together to produce sound waves. In
other words, half of a sound wave is made up of the compression of the medium, and
the other half is the decompression or rarefaction of the medium.
Taking these two positive and negative aspects of a waveform into consideration,
we can see how stereophonic sound indeed has a four-fold structure involving its two
different channels: there is an intricate sonic relationship occurring between four distinct
levels of compression and rarefaction. We can conclude from this that perhaps the main
reason why our minds create a three-dimensional sound space so vividly is because the
�Four Winds� of stereophonic audio are working together to establish this unique spatial
world - for how is there a true or complete aural world without �four corners�? The
structural essence of the Four Winds is thus reflected in the stereophonic spectrum �
and even more so in a matrix - as four ordering and proliferating energies that hold the
sonic image together through two horizontally intersecting polarities (two compression
and rarefaction polarities mixing between the left and right channels) that also have a
vertical dimension (compression and rarefaction), which establishes the threedimensional
world in our minds for us to dance within.
* * * *
�[Matrix recording] is a remarkable process that gives [the sound] a three-dimensionality that
is uncanny - it really does...It's actually superimposed, the best of both worlds: the close mic
sound of being right on stage, and the thing of being in the room and what the room does to
the music - those things superimposed on each other in various relationships. It's pretty
much like being there.� -Jerry Garcia
�When the audience recording cuts out of a matrix, I stop dancing and lose a certain energy
focus. When it cuts back in, I am dancing again. The matrix gives dancing energy, on some
quantitative level.� -Hunter Seamons

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