Band Grateful Dead 
Venue Boston Music Hall 
Location Boston, MA  
Date 6/10/76 - Thursday 

DTS-Audio-CD 5.1 Mix

Disk 1 
Set One 
The Promised Land  
Sugaree  
Cassidy 
They Love Each Other 
The Music Never Stopped 
Brown Eyed Women  
Lazy Lightnin' > 
Supplication  
Row Jimmy 
Big River 

Disk 2 
Set One continued
Mission In The Rain  
Looks Like Rain  
Might As Well 
Set Two 
Samson And Delilah  
Help On The Way > 
Slipknot!  > 
Franklin's Tower 

Disk 3 
Set Two continued
Let It Grow > 
Drums  > 
Let It Grow  
Friend Of The Devil 
Playing In The Band > Space Jam > 
Dancing In The Street >
U.S. Blues 

Source Information

SBD shnid 82891 info:

Source Info: SBD Master Reel -> PCM -> Dat (44.1k)

Transfer: DAT from the collection of Todd Evans - todd@bluedakota.com
DAT > TASCAM DA-20 (S/PDIF out) -> Apogee Wide Eye S/PDIF interconnect ->
LynxTWO-A Audio Reference Interface (S/PDIF in) -> Wavelab 6.0
Transferred February 20, 2007

Editing and Mastering in Wavelab 6.0 and Ozone. Dithered L2 Type-1 Ultra  
Jamie Waddell
February 26, 2007
SBE FREE 16/44.1

Notes- 
-5 seconds of static on GEM DAT in Sugaree patched with shnid 14264
-a slight tape warble/glitch in Cassidy (exists on all sbd sources) surgically improved in Spectrum Edit Mode 
-Skip and short L channel static burst @ 7:13.6 of TLEO (d1t04) of 14264 NOT present on GEM DAT original transfer.
-about 10 more seconds of tuning/crowd exists on GEM source between Row Jimmy and Big River than on 14264.  Confirmed with comparison to circulating audience sources.
-Digi Noise present on 14264 in the last 5 seconds on Row Jimmy not present on GEM DAT
-about 15 missing seconds on master reel in Lazy Lightnin patched with the Jerry Moore Audience Recording, shnid 18425.
-about 20 missing seconds on Master Reel in Might As Well patched with Jerry Moore Audience Recording, shnid 18425.
-about 20 missing seconds on Master Reel in Let It Grow patched with Jerry Moore Audience Recording, shnid 18425.

(Note: the 3 patches listed above were changed to use Steve Hopkins audience (shnid 5918) vice the Jerry Moore since the Moore audience was the primary source for the matrix.)

AUD shnid 18425 info:

Source: Recorded by Jerry Moore; AKG 200Es> Sony TC-153, close to stage in orchestra mics hand held 
Lineage: AUDMC > DAT converion master Tascamm 122 MKII> Tascam DA-40 by Mark Cohen
DAT -> SHN Conversion: Tascam DA-30 playback > Egosys Waveterminal 2496 > Cool Edit 2000 > sector boundary verification (shntool v1.01) > mkwact > SHN(seekable) by David Minches, 
Info file by Matt Vernon

notes

-d2t08 right channel erratic at end of Slipknot!
-d2t09 right channel erratic continues into Franklin's Tower
- ~3 second periodic volume fluctuations in right channel in LIG

Comments (1) {space Jam [7:21] > Dancing in the Street tease [0:58] > Jam [0:39] }  

Here's verbatim an answer I received from Jerry Moore concerning details of his recordings for this date, which I have included unedited
with the permission of the author.

"Hi Matt --

Hhmmmmmm......

I can never remember ANYTHING.

Ask Noah - no doubt he'll vouch for me on this one.

Maybe I can remember something, if I rack my brain. Nothing. Zip. Well, 
maybe something. I was sitting in the first row loge one night, with the 
mikes on the ledge. I think I spread them pretty well, too, even though the 
Music Hall wasn't a venue I was terribly familiar with. Point of fact, I've 
always been cautious about risky matters, but a tape recording? Hardly ever.

Come to think of it, I remember was more about making the tape in the loge 
than I should. It comes back.... I believe I was actually sitting two or 
three rows back, and fairly well centered. Jesus, this is a sorta 
ridiculous sequence, unless I've got it mixed up with a totally different 
show. I wouln't bet the farm on my being confused though, since some 
incidentals are coming back as well.

I came prepared to compensate for the less than perfect seats. Each of my 
mike cables was about fifteen feet long, and I had two twenty foot long 
extensions. Add the whole string up, that's a run of about seventy feet of 
cable, roughly the height of a seven story building. Never really thought 
about that before. I ran the cables down the aisle, and split them along 
the ledge, duct taping as necessary, and padded the mikes somewhat from 
vibration with a couple of pieces of foam and wrapped them in towels as 
well, leaving just the heads sticking out.

The place was already pretty full when I set up, and while most everybody 
in the first row was pretty patient with me, there were a couple of 
lunkheads, and to get around them I went scrambling out on the ledge 
clinging to the rail, pretty much like any other monkey.

I was kind of paranoid about the mikes being that far out of sight and 
reach, but I had asked some friendly looking types near the actual 
positions to keep an eye on them, and ultimately everything went off 
without a hitch.

The other night I was sitting on the floor, and all that comes back about 
that is that I was quite close, and hand holding the mikes.

I was going to say that I don't remember where I sat on which night, and 
that you'd have to listen to both tapes and try to guess from the results, 
but I think I can place them exactly.

I have a very clear memory of pretty literally levitating out of my seat 
howling at the first hint of Saint Stephen (pretty sure I was the first one 
to react too, as I remember getting some strange looks behind it) and 
damned surely wouldn't have been able to do that holding a microphone or 
anywhere near one.

QED, whichever night they played Stephen, I was sitting upstairs.

Only other thing that comes to mind was that a union lighting guy saw me 
doing my fairly blatant setup, and we had a rather surreal dialogue. He 
told me something like "You can't do that, I get five hundred bucks if it's 
a recording session," and went running to tell his boss or somebody. 
Contractual obligations or not, the union rep must've had a functional 
brain, because the guy came back bitching, having apparently been told to 
go back to work and leave it alone.

Anyway, like I said, can't remember a damned thing.

                 Best,     Jerry"

SHNs were decoded to wave and Audition 2.0 was used to reassemble
the tracks back to 1 long wave.  Audition 2.0 was used to align &
synch the SBD & AUD sources.  
- Aud and sbd were synced while working on a dts encoded cd, matrix and audio dvd
- FLAC conversion 11-MAY-2007

Audio Patching:

1) Before Promised Land, 1 minute and 16.000 seconds were missing from the sbd source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

2) During Lazy Lightning, 24.865 seconds were missing from the sbd source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

3) Between Supplication and Row Jimmy, 42.861 seconds were missing from the Jerry Moore audience source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

4) During Might As Well, 28.054 seconds were missing from the sbd source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

5) During Let It Grow, 26.345 seconds were missing from the sbd source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

6) Between Let It Grow and Friend Of The Devil, 54.113 seconds were missing from the Jerry Moore audience source and filled in with audio from the Steve Hopkins audience. This portion of the audio was normalized to blend in better.

---------------------------------------------------------

DTS-Audio-CD Info

Front  
Left Channel SBD  
Right Channel SBD

Center
Mixed to mono -1.5db SBD

Surround
Left Channel -0db AUD
Right Channel -0db AUD

Sub/LFE
Mixed to mono -1.5db SBD Reel

--------------------------------------------------------------
More On DTS

Today's audio standards are moving towards multi-channel
sound, like DTS and Dolby Digital. While the Audio-CD
standard (Red Book) hasn't changed to accommodate these
new sound formats, it is still possible to go around the
specification and to put a 5.1 surround recording on a
regular Audio-CD. To play a DTS-Audio-CD you must connect
your DVD/CD player via a digital cable (optical or coaxial)
to your DTS Dolby-Digital receiver. It is not 100% sure
that your receiver will recognize a DTS-Audio CD, so the
first time you're trying to playback a DTS-Audio-CD you
must do a test to determine if it can. Begin with the
volume very low, start the disc and raise the volume
gradually. NEVER listen to a DTS-Audio-CD through the
analog audio outputs of your CD/DVD player.

Burning Instructions

Burn them the absolute same way as you would burn any
normal Audio-CD from FLAC files.

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