Grateful Dead
Date 1982-09-24
Carrier Dome
Syracuse NY

set 1
01. Jack Straw             ##
02. Friend of the Devil    ##
03. C.C. Rider             ##
04. Ramble on Rose         ##
05. New Minglewood Blues ## //
06. Bird Song               &
07. Looks Like Rain
08. China Cat Sunflower
09. I Know You Rider

Set2
01. Far From Me
02. Playin' in the Band
03. Crazy Fingers
04. Throwin' Stones ->
05. Space ->
06. Drums               //
07. Iko Iko
08. Truckin'
09. Goin' Down the Road Feelin' Bad
10. Black Peter
11. Around and Around
12. Sugar Magnolia      ///
encore
13., Brokedown Palace

Show notes:
Just before the encore Phil says "We have a special event for you, tonight is Bob's 5th wedding anniversary & we've brought Bob's wife out all the way from California to give him a big wet kiss." Of course, the band was punking us as Bob wasn't married!

Recording notes:
## NOT ON MASTER TAPE- missed due to interviewing Dan Healey at SBD (story to follow) First Gen from Source 2 (info below)
& accidental brief pause at start
// tape flip
/// tape swap to first tape side B for Sunshine Daydream|encore

Source 1: First Gen of Audience Master Recording: Beyer M 201c Location: 120 feet from stage 12 Feet ROC directly even with SBD Lineage: Beyer M201's (hyper cardiod)handheld at shoulder height >> Sony TCD5M w TDK MA-C90 XL, Dolby B ON; First gen tape- Maxell UDXL-IIS
Source 2: Sennheiser 421's
Location: 60 feet from stage DFC
Lineage: Sennheiser 421's >> Sony TCD5M
Playback: Nakamichi LX-5 -> Tascam DR680 @ 24/48
Processing:SD|WIN7|Audacity |cdwave editor|TLH flac 8
Recorded by: Executive Crew Kyle Holbrook, Mike Yacavone, olvy Johnson
Transferred by: Kyle Holbrook
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Tour Notes:
Mike decided we had to do an interview of the sound crew or anyone in the band about our studies of psychoacoustics. Of course, as 20 and 21 year olds, we thought we had invented the topic and somehow did not realize Dan Healey and company would have had to bump into a few audio technologists and/or acousticians along the way!

So Eric Arnum the director of operations at student run radio station WAER where he worked and several of us hung out "working" over the years called the Grateful Dead's record company. Surprisingly to us, they called back and eventually someone with the Dead called Eric to ask specifically what the interview request was about. When told it was some students studying psychoacostics requesting an interview with the sound engineer, Dan Healy, somehow they agreed to having us interview Dan plus Mickey Hart would be available for questions on that topic!    Amazing luck !!

This interview became the focus of our lives for the few weeks prior to the show. It came down to one backstage pass which became Mike being able to take the Sony deck with one microphone from WAER to the interview with Mickey about 5 hours prior to showtime. Lots of things were discussed about acoustics, sound, music and such but sadly this interview does not exist on tape because the newbies we were did not check the batteries prior to heading to the interview. The recording sounded like Mickey Hart sounding like Mickey mouse as the batteries were dying making the tape move at a much slower rate  so on playback it sounded very fast. Somehow they salvaged about 2-3 minutes at the start of the tape to use on air so we could claim the radio/student project side wasn't a failure. Of course, not even that tape exists in my archives- lost to the ether of life.

Mike called the house at some point and told me to get over to the Carrier Dome, he had talked them into a pass for me so both of us could do the interview of Dan Healy. I brought our Sony tape deck, fresh batteries and RCA cables with the idea we were going to ask Dan Healy for a sound board patch of the show. Brazen, young, foolish students! Luckily, we had a contingency plan of Olvy bringing the Beyer microphones and cables into the Dome later.

We interview Dan (all with an unbeknownst to us dying tape deck). The main thing I recall is him telling us one of his favorite moments during shows is when the audience responds to sound sequences which aren't obvious- clapping to a blues rhythm for instance, or a loud radical yell during a quiet moment during space. He told us he used many psychoacoustic elements in the design of their PA's over the years, panning instruments, odd stereo effects applied from the board, but what stuck with us over the years as we did FOH and sound tech work at school and later formed a company under the name Sonic Research Associates, was that IN GENERAL, the band sets their own tone and loudness from the stage. Once the sound was set at the board, the band generally handled most of the dynamics between them- it was a fascinating interview for two budding students of sound engineering lasting about 30 minutes.

So there we are, standing on the soundboard about 6 PM when the crew gets their dinner delivered. I think Mike was headed backstage with Eric and I was awkwardly standing there near the very rear of the riser when Dan brought his tray over and somehow dropped it onto a chair that had my brand new leather bomber jacket over its back, spilling most of his dinner onto the jacket. Mashed potatoes and gravy seemed to be the worst of it, leather wise. Dan reacted in an unexpected and kind manner. As a  leather jacket wearer, he knew it would need to be professionally cleaned; he apologized profusely and made the crew dudes find us some cash ($50 maybe $20 I don't recall this factoid) for cleaning the coat. Dan was so taken by this event, he sort of remembered me for about 2 more years, often speaking with me off the board and once in Hampton 84 coming out and asking about some mic configs we were trying. I guess his leather jacket wearing impulses were offended by spilling the food on the kids' jacket!

So, what do I do? I ask for a patch out of the soundboard! Brazen! Dan doesn't skip a beat, says they don't allow that much these days and I, in my extreme naïveté', I did not have anything to offer the man "in trade", so there was an awkward moment and he moved on while I stood at the rear of the board waiting for the show to start, the audience was already filing into the Dome. So about four songs in I slid down off the riser and found Olvy, Fran and a few friends in our seats just next to the soundboard about 120 feet from stage. We started the recording during Minglewood, and on this copy, I use a AUD version we located about 3 days after the show for the missing first five tunes.

We stood on our chairs and hand held the mics which were duct tape together. Olvy held the mics and I ran the deck from Minglewood on. For set 2 I held the mics while Mike ran the deck.The show was an odd combination of song sequences, such as a Looks Like Rain, China > Rider first set ending as well as the Ikko-Iko out of space and the entire ending of set 2 was standard early Eighties stomping it out Grateful Dead. Syracuse endured its' first GD show in the Carrier Dome; the sound quality wasn't amazing, but the Dead's Meyer system proved up to the challenge in such an acoustically challenging room.

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