Tags

  • College Gig

Setlist via JerryBase

Notes

  1. Released on Pacific Northwest '73-'74: Believe It If You Need It 12
  2. Final known performance
  3. Released on Pacific Northwest '73-'74: Believe It If You Need It
  4. Released on Playing In The Band, Seattle, Washington 5/21/74
  5. Longest uninterrupted song ever played (46 min, 49 sec).

Writeups

None available yet

Related videos

None available yet

Tapes

  • SBDMaster ReelStream OnlyTaper unknownS:MR > cassette > DAT > CD > EAC > SHN, except Playing In The Band, which is S:MR > DAT > CD > EAC > SHN, with 26 seconds of aud patched in.
  • SBDCassetteStream OnlyTaper unknownMSR> C> Dats> CD> EAC> SHN> WAV> Samplitude2496: retracked, normalized (added +1.8 dB) > SHN
    Discs
    0
    SHN discs
    2
  • SBDStream OnlyTaper unknownSoundboard
    Discs
    0
    SHN discs
    2
  • BalconyTaper unknownAudMC > WAV > SHN; Sony ECM18N mics > Sony 152SD deck, hand held mics in right balcony
    Taper
    Pat Lee
    Discs
    0
    SHN discs
    2
  • MatrixStream OnlyTaper unknownSBD + AUD Matrix 2 Source Mix (65%-SBD/35%-AUD)
  • MatrixStream OnlyTaper unknownMatrix by Hunter Seamons using Final Cut Pro (SHN > AIFF > Final Cut > AIFF CD tracking via Audacity > FLAC16 via xACT)
  • AUDTaper unknownSony ECM18N mics > Sony 152SD deck recorded by Pat Lee, hand held mics in right balcony (patched version of shn id 10150 see info file for details)
  • Source unknownDAT (Reel)Taper unknownCassette Master (Nakamichi DR-1) -> Sound Devices 744T -> Samplitude Professional v10.2.1 -> FLAC/24
    Taper
    Pat Lee
  • Source unknownDAT (Reel)Taper unknownCassette Master (Nakamichi DR-1) -> Sound Devices 744T -> Samplitude Professional v10.2.1 -> FLAC/16
    Taper
    Pat Lee
  • Source unknownTaper unknownUnknown audience recording (not recorded by Pat Lee); Transcription Pathway: Maxell XLII-90 cassettes (unknown generation) ? Nakamichi DRAGON (no Dolby, EQ 120 µsec) ? ADC Sound Shaper Two Mk II stereo frequency equalizer ? Edirol UA-5 T-MOD PLUS (custom-modified by the Oade Brothers) (driven by MME, in advanced mode; set to Red Book Standard for LPCM streaming) ? USB 2.0 ? Audacity 1.2.6 (set to 32-bit float/44.1kHz resolution for recording LPCM stream; set to Red Book Standard and, with snap-to on, to cdda min:sec:frames 75 fps for cutting tracks on sector boundaries and exporting them as .wav’s); Transcribed by George M. Prescott Jr. on October 14, 2010
    Taper
    Donn Amick
  • MatrixTaper unknownSee info file
    Taper
    See info file
    Official release
    This source is a DTS 5.1 mix and is not streamable
  • BalconyMaster CassetteTaper unknownMaster Cassettes (Sony K677ES) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2020 > TLH flac2496
    Taper
    Pat Lee
  • BalconyMaster CassetteTaper unknownMaster Cassettes (Sony K677ES) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2020 > TLH flac2496
    Taper
    Patt Lee
  • MatrixStream OnlyTaper unknownDTS-Audio-CD 5.1 Mix (shnid=87114) and SBD + AUD Matrix 2 Source Mix (shnid=87124) (65%-SBD/35%-AUD)
    Official release
    This source is a DTS 5.1 mix and is not streamable
  • Source unknownTaper unknownSBD

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.

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Surcode\nCD Pro DTS was used to encode to DTS.\n- Mixed by kevtobin@yahoo.com\n- FLAC conversion 07-AUG-2007  \n---------------------------------------------------------\nMultitrack Mixdown Settings\n\nSET ONE\n\nStereo Matrix\nSBD -0\nAUD -2\n\nSET TWO\n\nStereo Matrix\nSBD -0\nAUD -2\n---------------------------------------------------------\nAudio Patching:\n1) Between Me and My Uncle and Brown Eyed Women, 16.520 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Brown Eyed Women on the Audience.\n \n2) Between Brown Eyed Women and Beat It On Down The Line, 1 minute and 06.239 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. 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This includes the first notes of Money Money on the Audience.\n\n11) After the splice at the start of Money Money, 28.183 seconds of the Audience left channel was fixed using a mono copy of soundboard recording (SBD) which was normalized to blend in better.\n\n12) Between Money Money and Ship Of Fools, 19.314 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. \n\n13) At the start of Ship Of Fools, 14.631 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. The first notes of Ship Of Fools were missing on both sources.\n\n14) At the end of Ship Of Fools, 06.597 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. 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The first notes are missing from both sources.\n----------------------------------------------------------------\nThe Audience recording was used as the timing reference and for the most part the soundboard recording ran slightly fast (.5 seconds per minute). However, Playin In The Band which \"has no Cassette gen\" more closely matched the audience recording and is unfortunate that more of it doesn't circulate. A patched version of the sbd already circulates (shnid=22801) but as there were multiple fixes to the audience recording, a fixed version of it will be available soon along with a dts and dvd-va.\n\nBrokedown House Production",
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      "meanRating": 4.5,
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    },
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    "sourceType": "Sony ECM18N -> Cassette Master (Sony 152SD)",
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      "notes": "Notes:\n-- Thanks to Pat Lee for lending me his masters",
      "runtime": "187:09.70",
      "transferer": "Charlie Miller",
      "taperText": "Pat Lee"
    }
  },
  "contentUrl": "https://archive.org/details/gd1974-05-21.sonyecm18n.lee.miller.98822.sbeok.flac16"
}

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 gd1974-05-21.amick.prescott.sbeok.114321.flac16
identifier
gd1974-05-21.amick.prescott.sbeok.114321.flac16
source_type
Unknown audience recording (not recorded by Pat Lee); Transcription Pathway: Maxell XLII-90 cassettes (unknown generation) ? Nakamichi DRAGON (no Dolby, EQ 120 µsec) ? ADC Sound Shaper Two Mk II stereo frequency equalizer ? Edirol UA-5 T-MOD PLUS (custom-modified by the Oade Brothers) (driven by MME, in advanced mode; set to Red Book Standard for LPCM streaming) ? USB 2.0 ? Audacity 1.2.6 (set to 32-bit float/44.1kHz resolution for recording LPCM stream; set to Red Book Standard and, with snap-to on, to cdda min:sec:frames 75 fps for cutting tracks on sector boundaries and exporting them as .wav’s); Transcribed by George M. Prescott Jr. on October 14, 2010
lineage
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capture_position
lineage_media_token
compendium_quality_grade
tape_culture_tags
source_family_tags
is_listable
true
download_count
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4
shnid
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relisten_url
https://relisten.net/grateful-dead/1974/05/21?source=2605327
etree_url
https://etreedb.org/shn/114321
content_url
https://archive.org/details/gd1974-05-21.amick.prescott.sbeok.114321.flac16

Full served wire node (JSON)

{
  "@type": "AudioObject",
  "@id": "https://longstrangeclick.com/id/recording/gd1974-05-21.amick.prescott.sbeok.114321.flac16",
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    "identifier": "gd1974-05-21.amick.prescott.sbeok.114321.flac16",
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    "sourceType": "Unknown audience recording (not recorded by Pat Lee); Transcription Pathway: Maxell XLII-90 cassettes (unknown generation) ? Nakamichi DRAGON (no Dolby, EQ 120 µsec) ? ADC Sound Shaper Two Mk II stereo frequency equalizer ? Edirol UA-5 T-MOD PLUS (custom-modified by the Oade Brothers) (driven by MME, in advanced mode; set to Red Book Standard for LPCM streaming) ? USB 2.0 ? Audacity 1.2.6 (set to 32-bit float/44.1kHz resolution for recording LPCM stream; set to Red Book Standard and, with snap-to on, to cdda min:sec:frames 75 fps for cutting tracks on sector boundaries and exporting them as .wav’s); Transcribed by George M. Prescott Jr. on October 14, 2010",
    "shnid": "114321",
    "sourceMeta": {
      "description": "Set 1\n\nMe & My Uncle, Brown Eyed Women, Beat It On Down The Line, Deal, Mexicali Blues, It Must Have Been The Roses, The Race is On, Scarlet Begonias, El Paso, Row Jimmy, Money Money, Ship of Fools, Weather Report Suite Prelude-> Weather Report Suite Part 1-> Let It Grow-> China Doll\n\nSet 2\n\nPlayin' In The Band, U.S. Blues, Big River, Stella Blue, Around & Around, Eyes Of The World-> Wharf Rat-> Sugar Magnolia, E: Johnny B. Goode",
      "notes": "*Can be overburned with EAC on a 700MB/80-min. CD-R following capacity test.\n\nTechnical Notes:\n\nThe dub was recorded on Nakamichi MR-2’s by the person who provided the source cassettes.  Unfortunately, the recording levels are less than optimal:  the left channel averages at -5 dB, while the right channel averages at 0 dB.  This imbalance could not be compensatorily corrected, as the Edirol’s input-level control is unitary across both channels for unbalanced analog inputs, precluding individuated left-channel and right-channel gain adjustments.  Still, the amplitude differential is slight, and creates no phase problems.  The underrecording yielded prominent tape hiss; this was greatly reduced by using an analog EQ with a sharp roll-off at 9kHz and no output at 16kHz.  Careful comparative listening revealed no phase-shift or artifacts due to EQ.\n  \nThe binaural source has real presence; both the Wall and the hall ring true.  This recording features fuller vocals, deeper bass response, and less reverb than does the circulating stereo audience recording made by Pat Lee (which is excellent).  This recording is free from the constant crowd chatter that mars that recording; those songs on that master that are missing their opening notes are intact here.  (The occasional handclapping is mildly distracting; the lusty screams from the crowd are welcome.)  Tonal range and timbral accuracy are quite good; Keith’s piano, Billy’s cymbals, and Jerry’s leads cut through nicely.  Still, at times, the sound here verges on distortion.  \n\nOccasionally, there are instances when it sounds like the taper inadvertently depressed the pause button, causing momentary pitch-slippage.  There are also intermittent crackles and static, several recording-equipment glitches and tape dropouts, and some hotspots.  None of these anomalies lasts very long.  \n\nTwo songs, “Playin’ in the Band” and “Sugar Magnolia,” are each missing three seconds of music due to possible tape-flip gaps.  These gaps were removed (and the remaining ends were spliced); they have not been patched.  \n\nTwo songs were pretermitted:  “Playin’ in the Band” and “Johnny B. Goode.”  (This was not due to tape run-out on the dubs; there is blank tape after these songs.)  The final fourteen seconds of “Playin’” have been inartfully tacked on from Charlie Miller’s masterly transcription of Pat Lee’s masters, ShnID-98822.  The encore cuts during the final note and was not patched. \n\nNo digital pitch-correction, noise-reduction, or sound-adjustment algorithms were used in this transcription.\n\nKnown Flaws (flawless tracks not listed):\n\nDisc One\n\n01\t“Me and My Uncle”:  \t\t01:19 minor glitch; 01:39 volume drops, tone darkens\n\n03\t“Beat It On Down the Line”:  \t00:37 minor glitch\n\n04\t“Deal”:  \t\t\t00:42 minor glitch; 02:58-02:59 vocal hotspot\n\n05\t“Mexicali Blues”:  \t\tJerry flubs chord 00:51; 01:50 static\n\n06\t“It Must Have Been the Roses”:  01:30, 01:43, 04:22 vocal hotspots\n\n07\t“The Race Is On”:  \t\tJerry flubs chord 00:13\n\n08\t“Scarlet Begonias”:  \t\t01:45, 03:29 minor glitches; 03:43 vocal hotspot\n\n09\t“El Paso”:  \t\t\t01:30 minor glitch; 03:17-03:18 pause w/pitch-slippage; 03:44 static\n\n10\t“Row Jimmy”:  \t\t\tJerry flubs chord 06:34; 03:38 dropout; \n\t\t      \t\t\t05:30 vocal hotspot; 07:10 pause w/pitch-slippage;\n\t\t      \t\t\t07:39 minor glitch ; 08:05-08:06 pause w/music missing;\n\t\t      \t\t\t08:25-08:44 channel-chop at run-out\n\n11\t“Money Money”:  \t\t00:20 volume drops; 01:12, 01:28 minor glitches;\n                        \t\t02:12, 03:07 hotspots; 03:13, 03:44 minor glitches\n\n12\t“Ship of Fools”:  \t\tJerry flubs chord 00:45; 00:32, 02:15 vocal hotspots; \n\t\t\t\t\t04:42, 05:40 minor glitches\n\n13\t“Weather Report Suite”:  \t07:10 minor glitch; 12:11 dropout; 12:55 tone darkens\n\n14\t“China Doll”:  \t\t\t02:28 minor glitch\n\nDisc Two\n\n01\t“Playin’ in the Band”:  \t02:49 tone darkens \n\t\t\t\t\t(possible pre-dubbing engagement of Dolby B or change in bias or EQ);\n             \t\t\t\t02:52 minor glitch; 10:09, 16:04 static;\n\t     \t\t\t\t16:55 minor glitch; 19:53-19:55 pitch-slippage;\n             \t\t\t\t21:01 possible tape-flip gap w/music missing;\n       \t     \t\t\t\t28:34-28:37 dropouts; \n       \t     \t\t\t\t30:54, 30:58 pauses w/pitch-slippage;\n       \t     \t\t\t\t31:12, 31:16 pauses w/pitch-slippage;\n       \t     \t\t\t\t34:26 equipment glitch;\n       \t    \t\t\t\t37:26 pause w/pitch-slippage;\n       \t     \t\t\t\t37:31-37:33 pause w/music missing;\n       \t     \t\t\t\t42:38, 42:57 minor glitches;\n       \t     \t\t\t\t46:11, 46:30 minor glitches;\n       \t     \t\t\t\t46:47-47:01 patched w/ShnID-98822 (Lee/Miller)\n\n02\t“U.S. Blues”:  \t\t\t00:54 minor glitch; 00:57 static; 05:24 minor glitch\n\n04\t“Stella Blue”:  \t\t01:12 minor glitch; 02:13 pause w/pitch-slippage\n\nDisc Three\n\n01\t“Eyes of the World”:  \t\tJerry flubs chord 01:16; 07:47 minor glitch;\n\t\t\t      \t\t12:33-12:34 pitch-slippage; 13:52, 13:57 static\n\n02\t“Wharf Rat”:  \t\t\t03:35 minor glitch; 03:57 equipment glitch;\n                      \t\t\t04:30 vocal hotspot; 05:15, 07:55-07:58 minor glitches;\n                      \t\t\t09:40 pitch-slippage\n\n03\t“Sugar Magnolia”:  \t\t01:53 possible tape-flip gap w/music missing;\n                           \t\t02:25 minor glitch; 03:05-03:10 pitch-slippage;\n                           \t\t03:32, 05:42, 07:44-07:45 minor glitches;\n                           \t\t08:10 distortion (not from dubbing or transcription)\n\n04\t“Johnny B. Goode”:  \t\t00:45-00:50 vocal hotspots; 01:00 static;\n                            \t\t01:20-01:33 vocal hotspots; 02:31 minor glitch;\n                            \t\t03:27, 03:32, 03:36 minor glitches;\n\t\t\t    \t\t03:50 final note cuts out \n\nPost-Transcription Tools:\n\nRounded track timings courtesy of Exact Audio Copy CD Layout Editor V0.99.\n\nSector boundary errors were detected in \"Playin’ in the Band,” and were repaired by post-padding with Trader's Little Helper v.2.6.0.168.\n\nSBE-free .wav verification and .st5 .wav checksums courtesy of TLH.\n\nLossless FLAC encoding with tags and verification by FLAC frontend v.1.7.1.\n\nFLAC .ffp and .md5 post-encoding checksums courtesy of TLH.\n\nFile-integrity check and problem-free verification courtesy of shntool 3.0.4.\n  \nEnjoy!",
      "runtime": "185:16.68",
      "transferer": "George M. Prescott Jr.",
      "taperText": "Donn Amick"
    }
  },
  "contentUrl": "https://archive.org/details/gd1974-05-21.amick.prescott.sbeok.114321.flac16"
}

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 gd1974-05-21.dts.tobin.87124.sbeok.flac16
identifier
gd1974-05-21.dts.tobin.87124.sbeok.flac16
source_type
DTS-Audio-CD 5.1 Mix Soundboard/Aud Matrix
lineage
See info file
lineage_chain
See info file
capture_position
matrix
lineage_media_token
compendium_quality_grade
tape_culture_tags
source_family_tags
is_listable
true
download_count
3786
review_count
0
mean_rating
shnid
87124
relisten_url
https://relisten.net/grateful-dead/1974/05/21?source=3877324
etree_url
https://etreedb.org/shn/87124
content_url
https://archive.org/details/gd1974-05-21.dts.tobin.87124.sbeok.flac16

Full served wire node (JSON)

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    "identifier": "gd1974-05-21.dts.tobin.87124.sbeok.flac16",
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    "capturePosition": "matrix",
    "downloadCount": 3786,
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    "isListable": true,
    "sourceType": "DTS-Audio-CD 5.1 Mix Soundboard/Aud Matrix",
    "lineage": "See info file",
    "lineageChain": "See info file",
    "shnid": "87124",
    "sourceMeta": {
      "description": "Set 1\n\nMe And My Uncle  \nBrown Eyed Women  \nBeat It On Down The Line  \nDeal  \nMexicali Blues  \nIt Must Have Been The Roses  \nThe Race Is On  \nScarlet Begonias  \nEl Paso  \nRow Jimmy  \nMoney Money  \nShip Of Fools  \nWeather Report Suite Prelude  ->\nWeather Report Suite Part   ->\nLet It Grow  ->\nChina Doll  \n\nSet 2\n\nPlaying In The Band  \nU.S. Blues  \nBig River  \nStella Blue  \nAround And Around  \nEyes Of The World  ->\nWharf Rat  ->\nSugar Magnolia  \n\nEncore\nJohnny B. Goode",
      "notes": "Audio Source Information\nSBD (shnid=2597)\nMSR>C>Dats>CD>EAC>SHN>.WAV>\nSamplitude2496: retracked, normalized (added +1.8 dB) > SHN, CD.\nPlayin' has no Cassette gen, and is patched w/26 sec of AUD at reel flip.\n\nAUD(shnid=10150)\nfrom Audience Devotional Tree\nRound 10 - June, 2002\nAudMC > WAV > SHN\n\nSony ECM18N mics > Sony 152SD deck\nrecorded by Pat Lee, hand held mics in right balcony\n\nnote: most songs have the first few notes cut on the master tape.\nA>D conversion by David Minches (dminches@comcast.net) playback\non Nakamichi Dragon through ART DI/O sound card.  Final track\nbreaks and editing by Noah Weiner (noahbw@attbi.com) May, 2002\n---------------------------------------------------------\nTech Notes\n\nSHNs were decoded to wave and Audition 2.0 was used to reassemble\nthe tracks back to 1 long wave.  Audition 2.0 was used to align &\nsynch the SBD & AUD sources.  Audition 2.0 used to adjust the\nvolume for both AUDs, matrix/CTR and LFE channels.  Surcode\nCD Pro DTS was used to encode to DTS.\n- Mixed by kevtobin@yahoo.com\n- FLAC conversion 07-AUG-2007  \n---------------------------------------------------------\nAudio Patching:\n1) Between Me and My Uncle and Brown Eyed Women, 16.520 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Brown Eyed Women on the Audience.\n\n2) Between Brown Eyed Women and Beat It On Down The Line, 1 minute and 06.239 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Beat It On Down The Line on the Audience.\n\n3) Between Brown Eyed Women and Deal, 59.037 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Deal on the Audience.\n\n4) Between Deal and Mexicali Blues, 20.096 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better.\n\n5) Between Mexicali Blues and It Must've Been The Roses, 1 minute and 17.410 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of It Must've Been The Roses on the Audience.\n\n6) Between It Must've Been The Roses and The Race Is On, 55.319 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of The Race Is On on the Audience.\n\n7) Between The Race Is On and Scarlet Begonias, 28.298 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better.\n\n8) Between Scarlet Begonias and El Paso, 1 minute and 06.737 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of El Paso on the Audience.\n\n9) Between El Paso and Row Jimmy, 1 minute and 31.657 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Row Jimmy on the Audience.\n\n10) Between Row Jimmy and Money Money, 28.081 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Money Money on the Audience.\n\n11) After the splice at the start of Money Money, 28.183 seconds of the Audience left channel was fixed using a mono copy of soundboard recording (SBD) which was normalized to blend in better.\n\n12) Between Money Money and Ship Of Fools, 19.314 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better.\n\n13) At the start of Ship Of Fools, 14.631 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. The first notes of Ship Of Fools were missing on both sources.\n\n14) At the end of Ship Of Fools, 06.597 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This is at the end of disk 1.\n\n15) At the start of WRS Prelude, 13.685 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. The first notes of WRS Prelude were missing on both sources.\n\n16) Between U.S. Blues and Big River, 1 minute and 13.819 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Big River on the Audience.\n\n17) Between Big River and Eyes of the World, 13 minutes and 32.455 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. This includes all of Stella Blue and Around and Around.\n\n18) Between Around and Around and Eyes Of The World, 02.989 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better.\n\n18) Between Sugar Magnolia and Johnny B. Goode, 08.814 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better.\n\n19) Between Sugar Magnolia and Johnny B. Goode, 04.661 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes some of the first notes of Johnny B. Goode on the Audience. The first notes are missing from both sources.\n----------------------------------------------------------------\nThe Audience recording was used as the timing reference and for the most part the soundboard recording ran slightly fast (.5 seconds per minute). However, Playin In The Band which \"has no Cassette gen\" more closely matched the audience recording and is unfortunate that more of it doesn't circulate. A patched version of the sbd already circulates (shnid=22801) but as there were multiple fixes to the audience recording, a fixed version of it will be available soon along with a dts and dvd-va.\n---------------------------------------------------------------------------\nDTS-Audio-CD Info\n\nFront  \nLeft Channel SBD  -0db\nRight Channel SBD -0db\n\nCenter\nMixed to mono -2db SBD\n\nSurround\nLeft Channel -2db AUD\nRight Channel -2db AUD\n\nSub/LFE\nMixed to mono -2db SBD Reel\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 Productions",
      "runtime": "197",
      "transferer": "Kevin Tobin",
      "taperText": "See info file",
      "releaseNote": "This source is a DTS 5.1 mix and is not streamable"
    }
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  "contentUrl": "https://archive.org/details/gd1974-05-21.dts.tobin.87124.sbeok.flac16"
}

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 gd1974-05-21.150951.sony.ecm18n.lee.smith.miller.clugston.flac2496
identifier
gd1974-05-21.150951.sony.ecm18n.lee.smith.miller.clugston.flac2496
source_type
Pat Lee's Master Audience Cassettes; Sony ECM18N mics (hand held, right balcony) > Sony 152SD
lineage
Master Cassettes (Sony K677ES) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2020 > TLH flac2496
lineage_chain
Master Cassettes (Sony K677ES) > Tascam DA-3000 (DSF 1-bit/5.6 MHz) > dBpoweramp 24/96 > Adobe Audition CC 2020 > TLH flac2496
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150951
relisten_url
https://relisten.net/grateful-dead/1974/05/21?source=3877437
etree_url
https://etreedb.org/shn/150951
content_url
https://archive.org/details/gd1974-05-21.150951.sony.ecm18n.lee.smith.miller.clugston.flac2496

Full served wire node (JSON)

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This includes the first notes of Money Money on the Audience.\n\n11) After the splice at the start of Money Money, 28.183 seconds of the Audience left channel was fixed using a mono copy of soundboard recording (SBD) which was normalized to blend in better.\n\n12) Between Money Money and Ship Of Fools, 19.314 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. \n\n13) At the start of Ship Of Fools, 14.631 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. The first notes of Ship Of Fools were missing on both sources.\n\n14) At the end of Ship Of Fools, 06.597 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This is at the end of disk 1.\n\n15) At the start of WRS Prelude, 13.685 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. The first notes of WRS Prelude were missing on both sources.\n\n16) Between U.S. Blues and Big River, 1 minute and 13.819 seconds were missing from the audience source (AUD) and was filled in with audio from the soundboard recording (SBD). This portion of the audio was normalized to blend in better. This includes the first notes of Big River on the Audience.\n\n17) Between Big River and Eyes of the World, 13 minutes and 32.455 seconds were missing from the soundboard source (SBD) and was filled in with audio from the audience recording (AUD). This portion of the audio was normalized to blend in better. 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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:1974-05-21:47637
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playdead:1974-05-21:47637
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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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