Grateful Dead — 1971-02-20 — Capitol Theatre, Port Chester

Sweet Suzy

Set 1

Casey Jones, Me And My Uncle, Hard To Handle¹, Bertha, Playing In The Band, Bird Song, Big Boss Man, Cryptical Envelopment¹ > Drums¹ > The Other One¹ > Wharf Rat¹, Sugar Magnolia

Set 2

Truckin', Loser, Next Time You See Me, Greatest Story Ever Told > Johnny B. Goode, Ripple², Not Fade Away² > Goin' Down The Road Feelin' Bad² > Not Fade Away² > Turn On Your Lovelight²

Notes

Released on Enjoying the Ride 1 2 3 4 5
Released on Enjoying the Ride 1 2 3 4 5

Additional Notes

E.S.P. show

Also onDeadListsDead.netHerbibotJamBaseJerryBase

None available yet

SBDTwo-TrackBetty BoardStream OnlyTaper unknown7inch 2-track Betty Reel w/ dolby A @ 7 1/2 ips > PCM501ES @ 44.056 KHz > analog out > dolby A decoder > analog in Fostex D5 @ 48KHz > DATx3 > ZA2 > notch filter > CD-R98,816 Downloads4.33/5 Stars12 Reviews
ListenArchive.orgRelisten
TransferLeigh Orf
Discs
3
SHN discs
2
SBDMaster ReelTaper unknownCD -> Samplitude Professional v10.02 -> Adobe Audition v1.5 -> FLAC28,020 Downloads4.33/5 Stars6 Reviews2h 40m
ListenArchive.orgRelistenetree116617
TransferCharlie Miller
SBDTwo-TrackBetty BoardStream OnlyTaper unknownDatx32 > Za2 > notch filter > CR-R19,740 Downloads4.67/5 Stars3 Reviews2h 36m
ListenArchive.orgRelistenetree6188
SBDDATStream OnlyTaper unknownJace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. All cables were Mogami Gold 0.3m pro-audio XLR cables. All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply.13,605 Downloads4.33/5 Stars3 Reviews2h 35m
ListenArchive.orgRelistenetree85912
TransferTransfer and mastering by Chris L.
Taper
Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Thanks to trailmix for providing the lineaged master DAT for transfer.
Source unknownTaper unknownSBD
ListenArchive.org

Tape diagnostics

Every field Long Strange Click carries for each recording on this show: the normalized DB columns the tape lockup is composed from, the full served wire node, and - on demand - the rich archive.org /metadata envelope Long Strange Click stores for the recording.

API endpoint /api/v1/shows/1971-02-20-capitol-theatre-port-chester

Recording gd71-02-20.sbd.orf.111.sbeok.shnf

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mean_rating: 4.33
shnid: —
relisten_url: https://relisten.net/grateful-dead/1971/02/20?source=3876571
etree_url: —
content_url: https://archive.org/details/gd71-02-20.sbd.orf.111.sbeok.shnf

Full served wire node (JSON)

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      "notes": "<a href=\"http://www.oakland.edu/~crouch/wbotb.htm\" rel=\"ugc nofollow\">WBOTB</a> \n\nThis is What Became Of The Bettys Source. I cleaned up the interference in the form of an annoying whine in the same manner as I did other Port Chester shows (2/18, 2/21, 2/23, 2/24). However, I used two different programs to do so. For disks 1 and 2, I used Diamond Cut Audio Restorations Tools Notch Filter, with a filter width of 0.03 to 0.04 octaves, centered on ~8000 Hz, or wherever the whine happened to be.  I used Sound Forge Noise Reduction Plugin, centering on the whine, for disc 3. Why two different programs? I began work on this show about a month ago. I recently purchased the DCART program after hearing it being widely regarded as one of the best (affordable) programs out there for cleaning up audio. Let your ears judge which is best if you can tell the difference. I found the DCART notch filter to be the better tool for the job, while the SFNR plugin is flexible enough to be used as a notch filter.\n\nI also realized long after I was into cleaning this show up that others have done so before me on this particular show. I'd be interested in any feedback as to how my show compares to other efforts! I used the narrowest filters I could without going bonkers. In some sections of the show the whine wandered quickly, forcing me to use lots of different filters over a small portion of the show.\n\nFor furthur info on my processing & related noise issues see http://orf.cx",
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