Grateful Dead 11/14/1971
Set I
Bertha, Beat It On Down The Line, China Cat Sunflower > I Know You Rider, El Paso, Sugaree, Jack Straw, Big Railroad Blues, Me And Bobby McGee, Loser, Playing In The Band, Tennessee Jed, You Win Again, Mexicali Blues, Casey Jones, One More Saturday Night
Set II
Truckin' > Drums > The Other One > Me And My Uncle > The Other One > Wharf Rat > Sugar Magnolia
E: Johnny B. Goode
E: Johnny B. Goode
Set III
Comment
New Riders Of The Purple Sage Opened
Sources
SHNID
6254
SBD> MR> C> (additional analog gens?)> DAT> CDR; minor background noise from 3:21-3:23 of IKYR; via Mike Lai, with thanks to Paul B.
SHNID
8738
Charles Weir fix of original SBD source; including a written txt file
SHNID
23568
SBD -> Master Reel (10 inch) -> CD -> Sonic Solutions -> CD -> EAC -> SHN; Converted By Charlie Miller
SHNID
170263
flac1648 Analog Audience Source: Unknown mic/deck/2nd generation
AUD Source Taped By: Unknown
Tape provided by Ann Saltmarsh to Doug Lamarre
Medium Stock Brands: Sony LNX 90 (120 uS EQ) Dolby On
Analog Sound Preservation by Matt Vernon:
Cassette
> Nak CR-7A #1 (azimuth adjusted, Dolby B)
> Tascam DA-3000 #2 (DSF 1-bit/5.6 MHz)
> Tascam Hi Res Editor (DSF concatenate & 2496 PCM)
Mastering by AndrewF:
- Caveat Auditor: bass-heavy lo-fi mono recording, barely any audio info in the high-end.
- Wavelab (24/96) used for; reconstituting original mono, gain & speed adjustments, and attenuating close-claps and mic-bumps.
SHNID
170264
flac2496 Analog Audience Source: Unknown mic/deck/2nd generation
AUD Source Taped By: Unknown
Tape provided by Ann Saltmarsh to Doug Lamarre
Medium Stock Brands: Sony LNX 90 (120 uS EQ) Dolby On
Analog Sound Preservation by Matt Vernon:
Cassette
> Nak CR-7A #1 (azimuth adjusted, Dolby B)
> Tascam DA-3000 #2 (DSF 1-bit/5.6 MHz)
> Tascam Hi Res Editor (DSF concatenate & 2496 PCM)
Mastering by AndrewF:
- Caveat Auditor: bass-heavy lo-fi mono recording, barely any audio info in the high-end.
- Wavelab (24/96) used for; reconstituting original mono, gain & speed adjustments, and attenuating close-claps and mic-bumps.
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