Frost Amphitheatre, Palo Alto, CA
Summary (download all files)
flac1644 1GEN AUDCA speed corrected 2.25% usig Audacity
Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay >
Recorder: Sony TC-D5M no NR Maxell MX90
Location: OTS- ~150 feet from stage spread 20 feet apart
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90
Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Recorded by: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferred & Processed by Kyle Holbrook
Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay >
Recorder: Sony TC-D5M no NR Maxell MX90
Location: OTS- ~150 feet from stage spread 20 feet apart
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90
Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Recorded by: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferred & Processed by Kyle Holbrook
Textdoc (download)
Grateful Dead
Date 1986-05-11
Frost Amphitheatre
Palo Alto CA
Set 1
d1t01 - tuning
d1t02 - Gimme Some Lovin' > **##
d1t03 - Dancin' In The Streets
d1t04 - Good Time Blues
d1t05 - Iko Iko &
d1t06 - My Brother Esau
d1t07 - It Must Have Been The Roses
d1t08 - equipment break
d1t09 - Cassidy >
d1t10 - Might As Well
Set 2
d2t01 - Samson & Delilah >
d2t02 - Crazy Fingers >
d2t03 - He's Gone >
d2t04 - Smokestack Lightning >
d2t05 - Drums >
d2t06 - Space >
d2t07 - The Other One >
d2t08 - Comes A Time >
d2t09 - Around & Around >
d2t10 - Not Fade Away
d2t11 - encore break
d2t12 - encore1 I Need A Miracle >
d2t13 - encore2 U.S. Blues
Recording information: *** This is a 16 bit fileset ***
** missed start
## The entire first track had technical difficulties in the Right channel so I patched the left and made it mono.
& half way through a loud PA crackle occurs
1GEN AUDCA speed corrected 2.25% usig Audacity
Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay >
Recorder: Sony TC-D5M no NR Maxell MX90
Location: OTS- ~150 feet from stage spread 20 feet apart
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90
Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Recorded by: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferred & Processed by Kyle Holbrook
==========================================================================
the story:
As I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields.
The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps. This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear.
For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC
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144:37.61 1530767920 B 0.5832 (23 files)
Media Size
0
Media Size Uncompressed
0
SHN Disc Count
0
WAV Disc Count
0
Date Circulated
Entered By
mvernon
Created At
Mon May 02 2022 20:36:56 GMT+0000 (Coordinated Universal Time)
Updated At
Tue May 03 2022 09:55:01 GMT+0000 (Coordinated Universal Time)
Checksums
gd1986-05-11.nakomni.flac16.ffp.ffp (download)
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gd1986-05-11.nakomni.flac16.md5 (download)
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