Grateful Dead
Aug 6, 1971 at Hollywood Palladium
Hollywood, CAGD-NRPS August 1971 West Coast
Setlist via JerryBase
Set 1
Bertha1, Playing In The Band, Loser, Mr. Charlie1, El Paso, Cumberland Blues1, Brokedown Palace1, Me And Bobby McGee, Hard To Handle12, Casey Jones
Writeups
- St. Stephen (Guest Post)
ST. STEPHEN by Alan Friedman , Gary Hartman & Barney Issen Houston , March 1999 By the time "St. Stephen" made its first appearance ... - Bootleg Grateful Dead LPs, East and West (Hollywood Palladium August 6, 1971)
The Grateful De ad At The Hollywood Palladium lp, recorded on August 6, 1971. Like many Dead bootlegs available on the West Coast, it was... - June 16, 1967: The Hullabaloo, Los Angeles, CA; Grateful Dead/Yellow Payges/The Power
The Hullabaloo, at 6230 Sunset Boulevard in Hollywood. The Grateful Dead played here on June 16, 1967 ( the photo is from Alison Martino's...
Related videos
None available yet
Tapes
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- Front of BoardMaster ReelFront of BoardFront of BoardTaper unknownSHN -> Cool Edit Pro v2.0 -> Samplitude Professional v9.12 -> FLACListenArchive.orgRelistenetree88816TransferCharlie Miller and Joe B Jones
- AUDD5Taper unknownSony ECM-22P mics > Sony 770 reel > Fostex D5 > SB Live Digi I/O > Cool Edit Pro > SHNListenArchive.orgRelistenetree30224TransferBen Kasper and SIRMick
- SBDMaster ReelStream OnlyTaper unknownCD -> Samplitude Professional v10.02 -> FLACListenArchive.orgRelistenetree96541TransferCharlie Miller
- MatrixStream OnlyTaper unknownMatrix mix (SBD/AUD)ListenArchive.orgRelistenetree96668TransferHunter Seamons
- AUDTaper unknownAkai GX636 > Apogee Mini Me @24/96ListenArchive.orgRelistenetree114390TransferMatt Smith
- Front of BoardFront of BoardFront of BoardTaper unknownMAR>R@ 7.5 ips>DVD; Akai GX636 (a rare black model) > Apogee Mini Me @24bit/96kHz > Apogee mini DAC (monitoring/mastering) > Lynx One Audio Card > Wavelab 5.0 > FLACListenArchive.orgRelistenetree109430TransferJamie Waddell and Matt Smith
- Front of BoardD5Taper unknownD>CD: Fostex D5->SB Live Digi I/O->Cool Edit Pro (by Ben Kasper)ListenArchive.orgRelistenetree77457TransferBen Kaspar and SirMick
- AUDFront of BoardFront of BoardTaper unknownMAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > CD --- R copied @ 7.5 ips using a Revox A-77>A-77 --- Mastered to cd by Matt Smith --- Playback info: R > Akai GX625 > apogee mini me (24/96) > apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0 (dithered to 20/44) > CD ** > EAC > WAV (shntool confirms no sbes) > FLAC (TLH)ListenArchive.orgRelistenetree94261TransferMatt Smith
- MatrixMaster ReelStream OnlyTaper unknownMAR (Harvey Kaslow) @ 7 1/2 ips. > R @ 7 1/2 ips.(Don Wolfe); Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC - matrix mixing by Kevin TobinListenArchive.orgRelistenetree130793TransferKevin Tobin
- MatrixStream OnlyTaper unknownMatrix of SBD(96541) and AUD (94261) with PATCH AUD(88816)ListenArchive.orgRelistenetree97015TransferChris Chappell
- SBDMaster ReelTaper unknownMAR (Harvey Kaslow) @ 7 1/2 ips. > R @ 7 1/2 ips.(Don Wolfe); Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC - dts mixing by Kevin TobinListenArchive.orgRelistenetree130794TransferKevin Tobin
- AUDTaper unknownLineage: MAR (Harvey Kaslow) @ 7 1/2 ips. > R @ 7 1/2 ips.(Don Wolfe); Transfer info: Akai GX636 direct tape head output > Bottlehead tube tape pre pair Tesla tubes circa 1980 > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLACListenArchive.orgRelistenetree127690TransferMatt Smith and Don Wolfe
- SBDMaster ReelStream OnlyTaper unknownDVD-VA : (Video Audio) SBD>>MR>>CDA>>FLAC>>DAW(Bertha)>>Audio DVD; Bertha Remaster of the Master Reel Source (audio only, no video)ListenArchive.orgetree110278
- Source unknownTaper unknownSBDListenArchive.org
Tape diagnostics
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"notes": "*Matrix*\n\n----------------------------------------------------\nSBD (shnid=96541):\n\nRecording Info:\nSBD -> Master Reel -> CD\n\nTransfer Info:\nCD -> Samplitude Professional v10.02 -> FLAC\n(3 Discs Audio / 2 Discs FLAC)\n\nAll Transfers and Mastering By Charlie Miller\ncharliemiller87@earthlink.net\nMarch 19, 2008\n\nPatch Info:\n(FOB) Sony ECM-22P -> Master Reel supplies:\nThe Other One (1:25 - 2:19)\n\nNotes:\n-- Set 2 is seamless\n-- WRS Prelude tease after Me And My Uncle\n-- Master Reel transferred to CD at the Mastering Plant in L.A.\n\n----------------------------------------------------\nAUD (shnid=94261):\n\nMR > R > CD > EAC > WAV > FLAC\n\nMAR (Harvey Kaslow)* @ 7 1/2 ips. > R @ 7 1/2 ips. (Will Boswell via Rob Bertrando) Maxell UD tape > CD --- R copied @ 7.5 ips using a Revox A-77>A-77 --- Mastered to cd by Matt Smith --- Playback info: R > Akai GX625 > apogee mini me (24/96) > apogee mini dac (monitoring) > Lynx One soundcard > wavelab 5.0 (dithered to 20/44) > CD > EAC > WAV (shntool confirms no sbes) > FLAC (TLH)\n\n* Recorded By Harvey Kaslow and Craig Todd\n(FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck.\n\n[missing El Paso; shnid=88816 provides Me and Bobby McGee]\n\n-----------------------------------------------------\nThank you to Charlie Miller for the SBD transfer,\nto Harvey Kaslow and Craig Todd for recording the show,\nand to Rob Bertrando, Will Boswell, and Matt Smith for the AUD transfer.\n\nMatrix by Hunter Seamons using Final Cut Pro (FLAC>AIFF>Final Cut>WAV>FLAC) \nJanuary 3, 2009\n\nNotes:\n\n1) There is about a minute cut in the AUD near the end of Lovelight. There are gaps in the AUD between songs.\n\n2) While the primary AUD did not have Me & Bobby McGee, it did have a significantly longer crowd intro and outro than shnid=88816. \n\n3) The right channel of the AUD was low during the last two songs. This was adjusted.",
"runtime": "163:26.38",
"transferer": "Hunter Seamons",
"releaseNote": "This show has been commercially released as \"Road Trips Vol. 1, No. 3: Summer 1971\""
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"notes": "I've been aware for some time that when I originally did the pitch corrction, I didn't get it right on the first 4 tracks. They have now been corrected\n\nSIRMick\nSeptember 2006",
"transferer": "Ben Kaspar and SirMick",
"taperText": "Harv Kaslow"
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Recording gd1971-08-06.aud.kaslow.smith.94261.flac16
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"description": "Set 1\n\nBertha \nPlaying In The Band \nLoser \nMr. Charlie \nCumberland Blues \nBrokedown Palace \nMe And Bobby McGee \nHard To Handle \nCasey Jones Six Days On The Road \nWatcha Gonna Do \nI Don't Know You \nDown In The Boondocks \nPortland Woman \nDirty Business \nHenry \nGlendale Train \nWorkin' Man Blues \nThe Only Daddy That'll Walk The Line \nFair Chance To Know \nThe Weight \nLouisiana Lady \nLast Lonely Eagle \nSweet Lovin One \n\nSet 2\n\nSaint Stephen \nTruckin' ->\nDrums ->\nThe Other One ->\nMe And My Uncle ->\nThe Other One \nDeal \nSugar Magnolia \nMorning Dew \nTurn On Your Lovelight",
"notes": "WRS Prelude tease after Me And My Uncle\n\n\nI want to thank Will Boswell & Matt Smith for this gem, and especially Matt for his generosity and friendship. \n\n8 5 & 6 1971 are legendary audience recordings. they simply sound great!\n\nwhile I'm sure you're content if not ecstatic with what you already have, there are a few reasons to consider acquiring this dat-less version new to general circulation (and please understand this isn't a competition and I'm not trying to pit Charlie Miller against Matt Smtih).\n\nthe most recent version to circulate is the one Miller remastered:\nhttp://db.etree.org/shninfo_detail.php?shnid=88816\n \n\nI have no idea why Me and Bobby McGee is missing from this reel\n\n\nthere are a few reasons to put this source into general circulation:\n\n\n1. it's important to preserve your right to choose\n\nyou're the expert in this case and can decide what sounds best to you. you, the listener, should have the choice. it would be wrong of me to hoard this and rob you of your choice in other words. when it's this close I'm not going to arrogantly tell you what sounds better or best to you.\n\n\n2. lowest hq generation sources should be available\n\nsince we're dealing with hq sources in both cases, this source is technically the lowest generation we have seen and should be in circulation at a minimum. that should be a key goal to preserving the music we love so dearly, to make hq sources with the lowest generation available.\n\n\n3. known transfer\n\nanother reason to add or prefer this source is we have no idea when or how Miller's most recent versions of these shows were transferred whereas we know Matt recently transferred this reel with professionally endorsed techniques and high end equipment. we simply know Miller received his DATs in 2000. As Miller explains, \"I got my DAT of this show back in 2000. I have no clue as to how it was transferred. I'm sure Matt's A>D is better than the one in the deck used back in 2000.\" \n\n4. unedited hq seeds should circulated at a minimum\n\nMiller's source was \"remastered\" which isn't always a good thing, especially if that's all we have. Raw, hq transfers, should circulate at a minimum and are the best was to preserve the music. Once these sources are available, then remasters may or may not be desirable. But since remasters can make irreversible changes, locking us into the subjective bias of the editor, we need these hq raw transfers before we should consider possible enhancements. In this case, pitch correction has proven to be tricky business. We've seen tech wizards debate whether or not it was done correctly. Since it's very easy to over or under correct, and even tech wizards often disagree, we can only go on what feels, sounds, or seems right. Because of this difficulty, we should make sure sources like this are available.\n\n* Recorded By Harvey Kaslow and Craig Todd\n(FOB) Sony ECM-22P condenser mikes into a Sony 770 portable 7 '' reel deck.\n\n\n** For the purpose of archival documentation, here are additional notes on how this seed was made, and why it was made this way. As Matt explains:\n\n\"My basic approach to transferring/mastering is LESS IS MORE. The basic goal should be to attain the cleanest signal possible going TO digital. It all starts with analog Equipment in top condition. I've had my equipment restored and even the tape heads aligned. I also clean all the heads/ect. every reel side I play which is also paramount. Audio cables are very important as well to get a good clean signal. There can be a big difference at times depending on whatever you are using which is a whole other chapter. Now comes the most important part, the A/D conversion. I personally use Apogees just because they are the best in our specific usage IMHO. Apogee's are renowned for their 'UV22HR' dithering algorithm. this specific algorithm is used in about 80% of all the mastering houses across the country and most of the stuff you hear commercially uses this. Even if dithered down to 16/44 it 'sounds' like a 24/96 to put in simple terms. So basically load in at 24/96 then dither down and you've got yourself a nice, clean file to work with. Now the DAT thing. DATS/CD recorders are great but that's really the 'end of the chain' so to speak. I don't mean to be a name dropper but when I was struggling trying to learn the \"what the hell's the difference??\" debate Jeffrey Norman put it best, \"the A/D converters in DATS and CD's are compromised since it's crammed with other equipment resulting in a loss of overall dynamics. a stand alone A/D converter that was made specifically for that purpose before going to DAT/CD/DAW is always the way to go if done correctly\"... This simple fact is mainly not even considered (or understood) by most people but still, the most vital part in the transfer chain without question. There is no doubt to me (and others) there is more dynamic range or overall a more defined sound vs. something going into just a DAT/CD recorder from analog. A nice fat(and clean) low end is also part of the result as well lots of times that DAT transfers are missing at times. Proper monitors are also very important too!! I have a Mini DAC hooked into a Hafler 550 watt power amp going to a pair a very nice Audix studio monitors. One needs to HEAR the flat uncolored signal when editing anything IMHO. Otherwise something can be ruined forever b/c some guy decides to NR/EQ and no one will know the difference 20 years from now!! Original transfers should be treated with great care and that's what I basically try to do to the best of my ability. When I get it all done I also have the unique luxury of owning Jerry's old McIntosh stereo system(MR77 tuner,C28 Pre and MC2105 power amp)\"",
"runtime": "135:48.27",
"transferer": "Matt Smith",
"taperText": "Harvey Kaslow and Craig Todd"
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"notes": "Other Audio Info:\nEl Paso is from the sbd as it was not on the audience tape. Only major part of song that was missing was about 1 minute close to the end of Lovelight. The audience was much slower than the soundboard (about 2 seconds per minute and it seemed to drag) so I used the sbd as the timing reference.\n---------------------------------------------------------\n- Mixed by kevtobin@yahoo.com\n- FLAC conversion 30-JUL-2014 - Trader Little Helper\n- Tagged 30-JUL-2014 - Tag&Rename\n---------------------------------------------------------\nMultitrack Mixdown Settings\n\nSET ONE\n\nStereo Matrix\nSBD 0\nAUD -0.5\n\nSET TWO\n\nStereo Matrix\nSBD 0\nAUD -0.5\n---------------------------------------------------------\nBrokedown House Production",
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"runtime": "163:07",
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"notes": "Other Audio Info:\nEl Paso is from the sbd as it was not on the audience tape. Only major part of song that was missing was about 1 minute close to the end of Lovelight. The audience was much slower than the soundboard (about 2 seconds per minute and it seemed to drag) so I used the sbd as the timing reference.\n---------------------------------------------------------\n- Mixed by kevtobin@yahoo.com\n- FLAC conversion 30-JUL-2014 - Trader Little Helper\n- Tagged 30-JUL-2014 - Tag&Rename\n---------------------------------------------------------\nFront\nLeft Channel SBD -0db\nRight Channel SBD -0db\n\nCenter\nMixed to mono -1db SBD\n\nSurround\nLeft Channel -0db AUD\nRight Channel -0db AUD\n\nSub/LFE\nMixed to mono -1db SBD\n--------------------------------------------------------------\nMore On DTS\n\nToday's audio standards are moving towards multi-channel\nsound, like DTS and Dolby Digital. While the Audio-CD\nstandard (Red Book) hasn't changed to accommodate these\nnew sound formats, it is still possible to go around the\nspecification and to put a 5.1 surround recording on a\nregular Audio-CD. To play a DTS-Audio-CD you must connect\nyour DVD/CD player via a digital cable (optical or coaxial)\nto your DTS Dolby-Digital receiver. It is not 100% sure\nthat your receiver will recognize a DTS-Audio CD, so the\nfirst time you're trying to playback a DTS-Audio-CD you\nmust do a test to determine if it can. Begin with the\nvolume very low, start the disc and raise the volume\ngradually. NEVER listen to a DTS-Audio-CD through the\nanalog audio outputs of your CD/DVD player.\n\nBurning Instructions\n\nBurn them the absolute same way as you would burn any\nnormal Audio-CD from FLAC files.\n\nBrokedown House Production",
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- https://etreedb.org/shn/110278
- content_url
- https://archive.org/details/gd1971-08-06.110278.sbd.Bertha.dvda
Full served wire node (JSON)
{
"@type": "AudioObject",
"@id": "https://longstrangeclick.com/id/recording/gd1971-08-06.110278.sbd.Bertha.dvda",
"contributor": [],
"lsc": {
"entityType": "archive_recording",
"identifier": "gd1971-08-06.110278.sbd.Bertha.dvda",
"people": [],
"legs": [],
"etreeUrl": "https://etreedb.org/shn/110278",
"capturePosition": "soundboard",
"lineageMediaToken": "mr",
"circulation": {
"firstSeedSourceFamily": null,
"observedSourceFamilies": [],
"mostRecentEventType": "transfer",
"generationCount": 9,
"events": [
{
"eventType": "seed",
"atUtc": null,
"note": "<b"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "DVD-VA</b"
},
{
"eventType": "transfer",
"atUtc": null,
"note": ": (Video Audio) SBD"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "MR"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "CDA"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "FLAC"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "DAW(Bertha)"
},
{
"eventType": "reseed",
"atUtc": null,
"note": "Audio DVD; Bertha Remaster of the <a href=\"http://db.etree.org/shn/96541\""
},
{
"eventType": "transfer",
"atUtc": null,
"note": "Master Reel</a"
},
{
"eventType": "transfer",
"atUtc": null,
"note": "Source (audio only, no video)"
}
]
},
"downloadCount": 334,
"reviewCount": 1,
"isListable": false,
"sourceType": "DVD-VA : (Video Audio) SBD>>MR>>CDA>>FLAC>>DAW(Bertha)>>Audio DVD; Bertha Remaster of the Master Reel Source (audio only, no video)",
"lineageChain": "<b > DVD-VA</b > : (Video Audio) SBD > > MR > > CDA > > FLAC > > DAW(Bertha) > > Audio DVD; Bertha Remaster of the <a href=\"http://db.etree.org/shn/96541\" > Master Reel</a > Source (audio only, no video)",
"shnid": "110278",
"sourceMeta": {
"description": "Set 1\n\nBertha, Playin' In The Band, Loser, Mr. Charlie, Cumberland Blues, Brokedown Palace, Me And Bobby McGee, Hard To Handle, Casey Jones\n\nSet 2\n\nSaint Stephen, Truckin'-> Drums-> The Other One-> Me & My Uncle-> The Other One, Deal, Sugar Magnolia, Morning Dew, Turn On Your Love Light\n\n\"WRS Prelude' tease after \"Me & My Uncle\" - Other artist(s): NRPS -full moon -,full lunar eclipse 'Sugaree\" appears on some audience tapes, but may be from another show. The stellar Hard to Handle from the circulating AUD can be heard on the commercial release <a href=\"http://mars.dead.net\" rel=\"ugc nofollow\">Fallout from the Phil Zone</a>.",
"notes": "Digitally Remastered using the Bertha Digital Audio Workstation by jashley@deadacated.com. Completed 6/8/2009\n\nFrequency analysis shows a change in the analog fingerprint at around 1:35:15. There also appears to be a crossfade at this point. The first half fingerprint continues on past 22khz and the second half fingerprint rolls off at 20khz. The second half is slightly compressed, which can be seen in wave analysis. It's not clear if these are from two different sources but the fingerprints are clearly different.\n\nDue to the difference between the two halves each was processed separately to create a even sound between the two.\n\nEnjoy!"
}
},
"contentUrl": "https://archive.org/details/gd1971-08-06.110278.sbd.Bertha.dvda"
}Archive.org metadata (on the wire)
The rich archive.org /metadata envelope Long Strange Click stores for this recording - a verbatim mirror of archive.org's own public metadata (inner metadata block, community reviews, and a file summary). Loaded on demand.
Recording playdead:1971-08-06:47729
- identifier
- playdead:1971-08-06:47729
- source_type
- SBD
- lineage
- —
- lineage_chain
- —
- capture_position
- —
- lineage_media_token
- —
- compendium_quality_grade
- —
- tape_culture_tags
- —
- source_family_tags
- —
- is_listable
- —
- download_count
- —
- review_count
- —
- mean_rating
- —
- shnid
- —
- relisten_url
- —
- etree_url
- —
- content_url
- https://vault.playdead.app/release/47729
Full served wire node (JSON)
{
"@type": "AudioObject",
"@id": "https://longstrangeclick.com/id/recording/playdead:1971-08-06:47729",
"contributor": [],
"lsc": {
"entityType": "archive_recording",
"identifier": "playdead:1971-08-06:47729",
"people": [],
"legs": [],
"sourceType": "SBD"
},
"contentUrl": "https://vault.playdead.app/release/47729"
}Archive.org metadata (on the wire)
The rich archive.org /metadata envelope Long Strange Click stores for this recording - a verbatim mirror of archive.org's own public metadata (inner metadata block, community reviews, and a file summary). Loaded on demand.
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