Grateful Dead
Date 1983-10-15
Hartford Coliseum
Hartford CT

d1t01 - Tuning
d1t02 - Feel Like a Stranger /
d1t03 - Dire Wolf  /
d1t04 - New Minglewood Blues  /
d1t05 - Brown Eyed Women  /
d1t06 - Wang Dang Doodle  /
d1t07 - Big Railroad Blues     //
d1t08 - crowd
d1t09 - Let it Grow
d1t10 - Day Job

d2t01 - Tuning
d2t02 - China Cat Sunflower > I Know You Rider  /
d2t03 - Playin' in the Band >
d2t04 - China Doll >
d2t05 - drums >          //
d2t06 - space >
d2t07 - St. Stephen >
d2t08 - Throwin' Stones >
d2t09 - One More Saturday Night
d2t10 - Encore Brokedown Palace

/      Tape paused between songs
//     tape flip

Master: AUD MC Sennheiser mke2002 binaurals worn on head > Sony TCD5M no dolby
        Maxell MX90 x 2 (kidwell)
Location: 75 feet from stage DFC
Transfer: Nakamichi LX-5 (24/48) > Tascam DR680|SD > i5Windows10
          Audacity > cdwav editor > TLH flac level 8
          This is 16 bit copy
Mastered: Executive Crew Chris Kidwell Tom Pinney Kyle Holbrook
Transferred: Kyle Holbrook
===============================================================================================
the tour story:
Night two in Hartford. This was only the second show the Sennheiser Binaurals were used for. We had them headworn in the same seat location as the Beyers which were on a stand. Of course we had no idea if or when they would pull out the St. Stephen again this tour, but we had to wonder no longer after this show. The lead in to the drums and space was so spacey and unforced it was almost a surprise when they dropped into the St. Stephen. The talker on our left and front of the mics for the Beyer recording is not as loud on this recording although he can be heard. His running commentary and guessing of the tunes, mostly incorrect, runs through most of this recording. As mentioned in the 1983-10-08 tour story I will write some about the topic of the binaurals themselves, both as to why we acquired them and how we used them.

After listening to our tapes of both summer tours we really thought we could make some sort of improvement in bass pickup and often the vocals seemed we could utilize a different set of mics to get "better" results. The MKE2002 started off needing for us to understand how to set it and run it with the pre-amps in the Sony recorder as the output signal was hotter than the Beyers. We were able to get it to do what we need without distortion by setting it no higher than 2-3 on the gain knob as compared to the 4-5 we normally used for the Beyers. We also had to figure out how to wear them on a human head properly and also how to sneak in the dummy heads to use them as designed. So after getting those concepts straight we would get better at using these mics. One problem with wearing them was the concentration required to stand on a metal chair and not move one's head actually caused more than one of us to almost pass out. Several times on spring tour 1984 did we catch the passing out person and take the mics off his head then put them on the guy next to him and get the passed out person water or air or whatever was needed.

For this recording you can hear how one of us was in someone's seat who showed up first song and we tried to negotiate with him unsuccessfully, probably tried to trade tickets with him. From the sound of the recording, the microphone wearer must not have moved but his companion did. Whatever happened the dude expresses his displeasure by yelling, singing and talking through the first set at least. One thing which we did as tapers was attempt to gain access to center seats in many ways; one of which was to just set up there and try to convince the ticket holder to trade seats or offer to send them tapes and such. This probably in some way influenced the creation of the GDTS ticket sales process allowing those of us "in the know"
 to send in for guaranteed seat locations.

Bob calls out "New York/New England girls are looking good" for Minglewood, I guess "Hartford girls" was too much for him to say (or remember!). Jerry messes up the lyrics to Brown Eyed Women and chuckles about it afterwards.

- - - - sbes at end of sets

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