Grateful Dead 02/18/1971
Capitol Theater, Port Chester, NY
Source Summary
SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR?-> CD-R; via Orf; disortion removed digitally (see notes); more info comparing Orf's NR to the WBOTB version; note the (possibly reextracted?) Orf version went to abgd 12/99 via D. Hollister, J. Sachs (md5s shown as "abgd", kindly provided by Eric Noon: note 2 versions- abgda, posted to abgd 1/19/00, has d2t2 sig different from Eric's abgdb, which he generated himself for the set- not sure which is correct)
SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR?-> CD-R; via Orf; disortion removed digitally (see notes); more info comparing Orf's NR to the WBOTB version; note the (possibly reextracted?) Orf version went to abgd 12/99 via D. Hollister, J. Sachs (md5s shown as "abgd", kindly provided by Eric Noon: note 2 versions- abgda, posted to abgd 1/19/00, has d2t2 sig different from Eric's abgdb, which he generated himself for the set- not sure which is correct)
Other Sources
SHNID 6672 direct copy of WTOTB tape (see inf file notes);...
SHNID 85478 flac16 ; Source: 7" two track BBD reel w/...
SHNID 111793 flac16 ; Recording Info: SBD -> Master Reel ->...
SHNID 123539 flac16 ; AUD. Recorded on cassette tape by Jim...
SHNID 123881 flac16 ; source: aud cassette master taped by...
SHNID 132101 flac16 ; Partial 2nd Set; it is supposidly 4th...
SHNID 132136 flac16 ; aud tape>fm>rr>c>d or aud...
SHNID 143183 flac16/48kHz ; SBD Master Reels>Dat>Clone...
SHNID 148238 flac16/48kHz ; Source Info: Source A: Master...
SHNID 148239 flac24 ; Source Info: Source A: Master...
SHNID 157425 flac1648 Source: Original transfer Betty...
Grateful Dead
February 18, 1971
Capitol Theatre, Port Chester, NY
SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R
The Sound Forge noise reduction was used to attenuate a very narrow
frequency band (in the vicinity of 8000 Hz) which was present as
interference on the original reels. See my notes below for details.
Disc 1
Set 1
1. Bertha (7:13) *
2. Truckin' (11:03)
3. It Hurts Me Too (7:42)
4. Loser (8:21) *
5. Greatest Story Ever Told (3:45) * >
6. Johnny B. Goode (3:39) *
7. Mama Tried (3:29)
8. Hard To Handle (8:01)
Disc 2
1. Dark Star > (7:03)
2. Wharf Rat * > (7:21)
Set 2
3. Dark Star > (7:14)
4. Me And My Uncle (4:04)
5. Lucky Lager Dance Time (2:39)
6. Casey Jones (6:10)
7. Playing In The Band (5:09)
8. Me And Bobby McGee (6:06)
Disc 3
1. Candyman (9:46)
2. Big Boss Man (5:40)
3. Sugar Magnolia (8:29)
4. St. Stephen > (5:57)
5. Not Fade Away > (4:33)
6. Goin' Down The Road Feeling Bad > (5:01)
7. Not Fade Away (3:59)
8. Uncle John's Band (6:44)
* first performance
The original reels of the Port Chester run of '71 were audibly
tainted due to a cable problem. The result is a tone which hovers
around 8000 Hz with an amplitude of about +20 dB above the noise
floor. This translate to a very annoying pitch, especially during quiet
sections, which is in the old-tv-tube or lousy-hard-disk or maybe even
the-sound-you-hear-after-you-slam-your-head-against-a-concrete-wall
class of 'whine'. Because this interference is 'monochromatic' it's
easy to get rid of if you have the processing power and a quick
FFT algorithm. I used the filter-shaping capabilities of the Sonic
Foundry Noise Reduction Plugin to tailor a very narrow notch filter
which attenuated the interference without affecting the rest of the
signal. And it's all done in the digital domain. Huzzah!
As a side note, I actually ended up crafting many filters to process
these shows. The frequency of the interference actually drifted anywhere
from 7700 to 8100 Hz during a given show. This was probalby due to a
slightly wandering reel speed. It made my work harder but when I tried
a much wider filter I started to be able to hear the attenuation in the
music. The filters generally go like this:
25 dB /- - - - - - - -\
/ \
/ \
0 dB | |
7830 7900 7970
The end result is no more annoying whine!
I also removed some of the nasty mic feedback in the 2/18/71 Bertha
using this type of filter.
Leigh Orf
February 18, 1971
Capitol Theatre, Port Chester, NY
SBD -> Dolby A Reel -> Dolby A decode -> DAT -> Sound Forge NR -> CD-R
The Sound Forge noise reduction was used to attenuate a very narrow
frequency band (in the vicinity of 8000 Hz) which was present as
interference on the original reels. See my notes below for details.
Disc 1
Set 1
1. Bertha (7:13) *
2. Truckin' (11:03)
3. It Hurts Me Too (7:42)
4. Loser (8:21) *
5. Greatest Story Ever Told (3:45) * >
6. Johnny B. Goode (3:39) *
7. Mama Tried (3:29)
8. Hard To Handle (8:01)
Disc 2
1. Dark Star > (7:03)
2. Wharf Rat * > (7:21)
Set 2
3. Dark Star > (7:14)
4. Me And My Uncle (4:04)
5. Lucky Lager Dance Time (2:39)
6. Casey Jones (6:10)
7. Playing In The Band (5:09)
8. Me And Bobby McGee (6:06)
Disc 3
1. Candyman (9:46)
2. Big Boss Man (5:40)
3. Sugar Magnolia (8:29)
4. St. Stephen > (5:57)
5. Not Fade Away > (4:33)
6. Goin' Down The Road Feeling Bad > (5:01)
7. Not Fade Away (3:59)
8. Uncle John's Band (6:44)
* first performance
The original reels of the Port Chester run of '71 were audibly
tainted due to a cable problem. The result is a tone which hovers
around 8000 Hz with an amplitude of about +20 dB above the noise
floor. This translate to a very annoying pitch, especially during quiet
sections, which is in the old-tv-tube or lousy-hard-disk or maybe even
the-sound-you-hear-after-you-slam-your-head-against-a-concrete-wall
class of 'whine'. Because this interference is 'monochromatic' it's
easy to get rid of if you have the processing power and a quick
FFT algorithm. I used the filter-shaping capabilities of the Sonic
Foundry Noise Reduction Plugin to tailor a very narrow notch filter
which attenuated the interference without affecting the rest of the
signal. And it's all done in the digital domain. Huzzah!
As a side note, I actually ended up crafting many filters to process
these shows. The frequency of the interference actually drifted anywhere
from 7700 to 8100 Hz during a given show. This was probalby due to a
slightly wandering reel speed. It made my work harder but when I tried
a much wider filter I started to be able to hear the attenuation in the
music. The filters generally go like this:
25 dB /- - - - - - - -\
/ \
/ \
0 dB | |
7830 7900 7970
The end result is no more annoying whine!
I also removed some of the nasty mic feedback in the 2/18/71 Bertha
using this type of filter.
Leigh Orf
Comments
Other Sources (comments)
direct copy of WTOTB tape... (1)
flac16 ; Source: 7" two... (2)
flac16 ; Recording Info:... (0)
flac16 ; AUD. Recorded on... (0)
flac16 ; source: aud... (0)
flac16 ; Partial 2nd Set;... (0)
flac16 ; aud... (0)
flac16/48kHz ; SBD Master... (0)
flac16/48kHz ; Source... (1)
flac24 ; Source Info:... (1)
flac1648 Source: Original... (2)
direct copy of WTOTB tape... (1)
flac16 ; Source: 7" two... (2)
flac16 ; Recording Info:... (0)
flac16 ; AUD. Recorded on... (0)
flac16 ; source: aud... (0)
flac16 ; Partial 2nd Set;... (0)
flac16 ; aud... (0)
flac16/48kHz ; SBD Master... (0)
flac16/48kHz ; Source... (1)
flac24 ; Source Info:... (1)
flac1648 Source: Original... (2)
Date: 09/30/2002
User:
GDLIVE
http://www.gdlive.com/shn/gd71-02-18.shnf/
Date: 12/03/2003
User:
Chuck Frolio
Set break is after Me & My Uncle
Date: 04/20/2004
User:
dave
this show can be fit on 2 80 min discs. simply end d1 with me and my uncle, 12 tracks. start d2 with lucky lager dance time, 12 tracks total as well.
Date: 04/20/2004
User:
dave
"mickey wants to call this one 'the pump man' for reasons of his own", the band proceeds to break out what we now know "greatest story ever told". seems interesting that in his final show he would be naming songs...
Date: 04/20/2004
User:
spak
FYI, here's a footnote to the GSET lyrics from page 90 of "Box Of Rain, Lyrics:1965-1993" by Robert Hunter:
"(Also known as "Pumpman" and "Moses"-I wrote this to the rhythm of the pump in Mickey Hart's well. In the first line, Bob Weir, who gave the song its present complementary title, sings 'quasar' rather then 'guitar'."
"(Also known as "Pumpman" and "Moses"-I wrote this to the rhythm of the pump in Mickey Hart's well. In the first line, Bob Weir, who gave the song its present complementary title, sings 'quasar' rather then 'guitar'."
Date: 12/18/2004
User:
Lewis/Klitschko
NR done here, Leigh.
Now what do you say about this Dan Stephens one?
http://db.etree.org/shninfo_detail.php?shnid=6672
It seems he refers to yours.
Now what do you say about this Dan Stephens one?
http://db.etree.org/shninfo_detail.php?shnid=6672
It seems he refers to yours.
Date: 12/19/2004
User:
dms
I'm not sure what the intent of your comment is, L/K. The only "reference" I make in my text file is simply stating that the NR that has been applied to this version has not been applied to mine. I would recommend that users download both and listen to whichever one they want based on their preference. No need for a "my version is better than yours" war.
Date: 12/19/2004
User:
Lewis/Klitschko
I was just curious how Leigh's comments about NR in the 8/27 thread jibe with his usage here. It's of course done out of respect, I love everybody who brings the music to us, Charlie Miller most of all.
Date: 12/20/2004
User:
Leigh Orf
Feedback removal is subjective - some people really want to re-live the moment. I like to keep my ears healthy. With regard to the whine removal, I was extremely careful to notch out only the whine and not any signal. Another version circulated which removed a huge chunk of the spectrum - avoid this one (see below links).
This is one of those cases where it is hard to argue against removing the interference. It's monochromatic and at a frequency which really makes it difficult to enjoy unless your hearing is already shot! However, a bad NR job is a bad NR job and it has been demonstrated over and over again that careless NR can make a recording sound worse not better.
For those interested, I have copious notes at the following links:
http://orf.cx/badnr.html
http://orf.cx/notch.html
This is one of those cases where it is hard to argue against removing the interference. It's monochromatic and at a frequency which really makes it difficult to enjoy unless your hearing is already shot! However, a bad NR job is a bad NR job and it has been demonstrated over and over again that careless NR can make a recording sound worse not better.
For those interested, I have copious notes at the following links:
http://orf.cx/badnr.html
http://orf.cx/notch.html
Date: 12/21/2004
User:
Diana
"8/27 thread" may refer to pub comments on an 8/27/72 fileset.
Date: 12/21/2004
User:
dms
I still enjoy this show more without the interference removed, but... to each his own.
Date: 12/21/2004
User:
Leigh Orf
Regarding 8/27/72 and this thread...
In a very brief nutshell, with regards to using consumer software to apply noise reduction to music, it goes like this:
Click removal GOOD
Monochromatic (single pitch) removal GOOD
Tape hiss removal BAD
The first two can be done without any significant (or even noticible if done right) effect on the music, and make the final recording a LOT better on the ears. It's supported by the mathematics, too.
The third nearly always leads to a lot of artifacts because tape hiss is "pinkish" noise containg energy all over the spectrum, just like music... and when you remove the hiss, you remove some of the music (some algorithms use noise gates etc. but none are perfect). The wisdom of the etree on this very subject can be found here:
http://orf.cx/tape_hiss_nr.html
I've already said too much with regards to 8/27/72. Check the above link for an interesting read.
In a very brief nutshell, with regards to using consumer software to apply noise reduction to music, it goes like this:
Click removal GOOD
Monochromatic (single pitch) removal GOOD
Tape hiss removal BAD
The first two can be done without any significant (or even noticible if done right) effect on the music, and make the final recording a LOT better on the ears. It's supported by the mathematics, too.
The third nearly always leads to a lot of artifacts because tape hiss is "pinkish" noise containg energy all over the spectrum, just like music... and when you remove the hiss, you remove some of the music (some algorithms use noise gates etc. but none are perfect). The wisdom of the etree on this very subject can be found here:
http://orf.cx/tape_hiss_nr.html
I've already said too much with regards to 8/27/72. Check the above link for an interesting read.
Date: 01/31/2011
User:
charliemiller
The vault master reels are crystal clear clean recorded with no dolby and they have no issues that these reels have.
Date: 07/26/2022
User:
Grateful Darkstar
With regard to Leigh's comments on NR that may well have been a problem when he made the comment but technology has moved on and today we have the benefit of iZotope RX which is incredibly good at removing tape hiss. You can fine tune it and I guarantee that if you do it properly you will never know that there was hiss on the recording to start with.
Add Show
Comments
Source Collectors
Related Artist Sources
History
Add Comment