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David's Collection

Grateful Dead   10/10/1980

Warfield Theater, San Francisco, CA
Source Source: Matrix (SBD/AUD mixdown)
Media SHN   2 discs
Notes Sick Bits Vol. 3

SBD:
Acoustic: SBD>MR>PCM>DAT>CDR>EAC>SHN
Electric: MSR>C>C>DAT>WAV>SHN (C>DAT Conversion by Cousinit)

AUD:
Taper: Most probably Bob Menke
Location: Balcony, Center
Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5
Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>
Tascam DA-20mkII>Tascam CD-RW700
Conversion: CDR > EAC (secure) > Cool Edit (minor clean up) >
cdwav (retracking) > mkwact > shn (seekable)
Remastering and pitch correction by Douglas Ferguson
Shn Conversion by mvernon54@attbi.com

[complete text files for each source appended at end]

Transfer/Editing:
Both sources were snh files downloaded from LMA and converted to
WAV > Vegas 5 > WAV > CD Wave (tracking) > FLAC 16 (FLAC Frontend level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
3/22/05

General Notes:

Given the multiple sources available on the Llama, I put the effort into
editing a matrix of this often overlooked gem of the Warfield run from
the Dead Set and Dead Reckoning live session recordings in the fall of '80.
There may be better overall played shows from other nights at the Warfield
and also their Radio City counterparts (don't forget the Saenger in NOLA),
but my motivation here was the best versions of Althea and Jack Straw that
I have heard, not to mention an excellent Scarlet>Fire. The Jack-a-roe is
the version on Dead Reckoning (aka For The Faithful), and the quality of
the acoustic set SBD is very crisp, probably close to the multi-tracks.
The electric SBD is not as nice, but when coupled with the AUD, the show
really comes to life. The electric SBD is also plagued by many holes, the
worst being that there is no SBD for most of Truckin' and then through the
rest of the show. All things equal, Althea, Jack Straw, Scarlet > Fire are
completely sick, and worth the matrixed effort, not to mention it was fun
doing an acoustic set too - the audience element is cool; and even though
it's a balcony recording, the Warfield is small enough that the intimacy
is still present and desirable.

Timeline/Tracking Notes:

Not much music is missing from the AUD, but the SBD lacks good coverage,
except for the upgraded acoustic set which has more in between song tuning.
The transition between all three discs can be put together seemlessly. The
show tracks well for 3 discs (2 of them 80 min. discs), and even though
it's a 3 set show, I felt it important to keep it to 3 discs. This way
the end of the second set and the beginning of the third set are on disc 2,
and that's where the nuggets are anyway.
Tech Notes Editing Notes:

- Pitch
Both sources were pitched differently, the SBD being the sharpest,
and the AUD being the flatest. I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
up about .28 (28 cents) to achieve pitch correction - 1.00 being
100 cents which is a semitone. However, this pitch differential did
fluctuate throughout the show, and was especially tough in Row Jimmy as
the reels on the SBD were running out. Big RXR Blues is funky too.
I did not reference A=440 as I did not desire to pitch adjust the SBD.
It is very close though to A=440, albeit a little sharp.

- 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
I did choose to employ a slight amount of limiting to the SBD (Waves L2)
to give it a slight amount of punch and presence. For the electric SBD
source I had to employ some noise reduction as the hiss is a little much
and takes away from the matrix sonically. Waves X-Noise was used to
accomplish this task, in which I used the "learn" function which isolated
the hiss through frequency spectrum analysis and drew an appropriate graph
for EQ. I was then able to solo just the noise being "reduced" and found
that almost no music was being lost, thus an optimum result. Conceptually,
all I was trying to do here is to add some dimension to the SBD, which is
pretty dry but very crisp, 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
3:1 and 4:1, leaning more towards the 4:1 end of things.

- Edits
The following are places where the SBD and AUD had holes or incomplete
coverage in reference to the final matrix timeline. I also edited out
reel pauses from the SBD where appropriate (like places where the AUD
is the only source because the SBD has been paused) to provide an
enjoyable listening experience. I left them in where the SBD was the
only source (like the beginning of Estimated).

SBD:
d1t01 (3:01 - 3:12) - missing (crowd)
d1t01 (3:21 - 3:25) - missing (crowd)
d1t02 (5:38 - 5:54) - missing (crowd)
d1t03 (2:36 - 2:58) - missing (crowd)
d1t04 (4:06 - 4:35) - missing (crowd)
d1t05 (3:31 - 3:46) - missing (crowd)
d1t06 (8:39 - 8:57) - missing (crowd)
d1t07 (6:06 - 6:25) - missing (crowd)
d1t08>9 (8:01 - 0:01) - missing (crowd)
d1t10 (0:00 - 0:03) - missing (crowd)
d1t11 (8:36 - 9:19) - missing (crowd)
d1t13 (5:29 - 5:44) - missing (crowd)
d2t01 (7:08 - 7:19) - missing (crowd)
d2t02 (3:07 - 3:27) - missing (crowd)
d2t03 (6:53 - 10:35) - missing
d2t04 (0:00 - 2:16) - missing
d2t04 (6:46 - 6:51) - missing (last chord)
d2t04 (7:12 - 7:34) - missing (crowd)
d2t06 (6:10 - 6:16) - missing (crowd)
d2t08 (9:42 - 9:57) - missing (crowd)
d2t09 (0:00 - 0:15) - missing
d2t09 (6:53 - 7:46) - missing
d3t05 (1:15 - 7:53) - missing
d3t06 (0:00 - 10:12) - missing all
d3t07 (0:00 - 3:56) - missing all
d3t08 (0:00 - 4:35) - missing all
d3t09 (0:00 - 5:50) - missing all

AUD:

d1t09 (2:29 - 3:10) - missing
d2t05 (0:00 - 0:08) - missing (crowd)
d2t07 (0:00 - 0:22) - missing
d3t01 (0:00 - 1:28) - missing
d3t03 (9:14 - 9:28) - missing (tape flip?)
d3t06 (10:09) - eliminated about 2 seconds of redundant material
d3t08 (0:33) - sewed hole from cut


Note that all of the missing elements from the SBD in set 1 are just
crowd segments, while the electric SBD has some music missing.
The balcony AUD has good coverage throughout the show.

Here's the list (pasted from the SBD source notes) of music missing in
the SBD source (meaning no matrix,only Audience for these prtions):

Last 3:42 of Row Jimmy
First 2:16 of Minglewood
Last :54 of Samson & Delilah
From 1:08 of Truckin through the rest of the show

- Thank Yous (I know none of these people but they deserve recognition)
Thanks to Joe Masino for the seed discs for the acoustic SBD, Tommy Brame
for checking SBs with shntool, and Darryl Hinko for the EAC/SHN conversion.
Thanks to Cousinit for transfering the electric SBD casette master to DAT,
(seeded by?). Thanks to most likely Bob Menke for recording the AUD source,
and Douglas Ferguson for remastering and pitch correction,and Matt Vernon
for the shn conversion. Thanks to Jonathan Aizen for uploading both
sources to the Llama.

Enjoy!
-Chappy
Trades Allowed Yes
Owned by David · Last Updated May 23, 2023