Grateful Dead 1970-02-??
Fillmore East, Fox Theatre, The Warehouse, various, various
Set 1
2/11/70 Fillmore East w/Greg & Duane Allman & Peter Green
1. Dark Star (12:18) >
2. Alhambra (5:23) >
3. Turn On Your Lovelight (28:53)
2/2/70 Fox Theatre, St. Louis, Mo
4. (some of) Cumberland Blues (2:21)
5. Dark Star (21:30) >
1. Dark Star (12:18) >
2. Alhambra (5:23) >
3. Turn On Your Lovelight (28:53)
2/2/70 Fox Theatre, St. Louis, Mo
4. (some of) Cumberland Blues (2:21)
5. Dark Star (21:30) >
Set 2
2/2/70 (cont')
1. > St. Stephen > Mason's Children (8:51)
2/1/70 The Warehouse, New Orleans w/Fleetwood Mac
2. ...The Other One (3:37) >
3. Turn On Your Lovelight (39:43)
1. > St. Stephen > Mason's Children (8:51)
2/1/70 The Warehouse, New Orleans w/Fleetwood Mac
2. ...The Other One (3:37) >
3. Turn On Your Lovelight (39:43)
Set 3
Comment
Selections from 2/11/70, 2/2/70, and 2/1/70 featuring jams with
Fleetwood Mac and Greg & Duane Allman and Peter Green
From a bootleg CD entitiled "The Best Damn Music In The World"
Post Processing
===============
These shows are soundboards, and sound great. Originally, however,
2/11/70 suffered from a very low bass mix. I played around with a bunch
of EQ curves (using Sound Forge 4.5), burned selections with different
EQ curves to CD-RW, and listened on my good stereo to decide what curve
to use. 2/2/70 also was low in the bass, less so than 2/11, and I did
the same to determine what kind of EQ to use.
Secondly, for the 2/1 Lovelight, the right channel would completely
disappear for anywhere from seconds to handfuls of minutes, which
obviously sucks. So I mono-ized it where this occurred, pasting the left
channel to the right where it went away. Much less annoying.
As a side note, I must say that my philosophy is ONLY EQ IF THE
RECORDING REALLY NEEDS IT. I asked myself, would I enjoy the music as
it is? The answer was, sortof. My next question was do I enjoy the EQed
music more? The answer was a resounding YES. I hope you enjoy it too.
There is a bonus track included. You win absolutely nothing by
determining where it comes from. I will probably eventually seed the
entire show from whence it came.
Leigh Orf ("Orp")
Fleetwood Mac and Greg & Duane Allman and Peter Green
From a bootleg CD entitiled "The Best Damn Music In The World"
Post Processing
===============
These shows are soundboards, and sound great. Originally, however,
2/11/70 suffered from a very low bass mix. I played around with a bunch
of EQ curves (using Sound Forge 4.5), burned selections with different
EQ curves to CD-RW, and listened on my good stereo to decide what curve
to use. 2/2/70 also was low in the bass, less so than 2/11, and I did
the same to determine what kind of EQ to use.
Secondly, for the 2/1 Lovelight, the right channel would completely
disappear for anywhere from seconds to handfuls of minutes, which
obviously sucks. So I mono-ized it where this occurred, pasting the left
channel to the right where it went away. Much less annoying.
As a side note, I must say that my philosophy is ONLY EQ IF THE
RECORDING REALLY NEEDS IT. I asked myself, would I enjoy the music as
it is? The answer was, sortof. My next question was do I enjoy the EQed
music more? The answer was a resounding YES. I hope you enjoy it too.
There is a bonus track included. You win absolutely nothing by
determining where it comes from. I will probably eventually seed the
entire show from whence it came.
Leigh Orf ("Orp")
Sources
| SHNID | Date | Venue | City | State | Archive Identifier |
|---|
Created At
Tue Sep 25 2001 13:00:39 GMT+0000 (Coordinated Universal Time)
Updated At
Tue Sep 25 2001 13:00:39 GMT+0000 (Coordinated Universal Time)
Users with this performance
| Name | # | Active (0-5) | Top Collections | Last Update |
|---|---|---|---|---|
| FuzzyOne | 184 | 4 |
| 2023-4-23 |
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| 2023-4-23 |