| Identifier | 3697807 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | CDR |
| Media Count | 4 |
| Note | SBD was pitched to match the AUD source. The pitch varied
throughout and for the longer songs multiple pitch corrections for different segments were required. There are still artefacts, especially before reel or cassette flips. - Cool Edit Pro used for pitching, cross-fades, etc... with highest accuracy settings - there is little audio above 8kHz on this sbd so it pales in comparison to the better E72 boards available - d1t1 (fades in and out) 1:06-1:09 hiss level changes briefly 5:37- 5:40 overload distortion (as Keith mixed in higher?) - d1t4 some overload like distortion at times when everyone plays chords together and on Bob's vocals - d1t5 & d1t6 some distortion on Phil's bass and Garcia's guitar and vocals at times - d1t7 overload distortion most prominent on harmonica - d1t8 mild overload distortion occasionally on vocals, piano, guitars - d1t9 spots where bass and vocals have mild overload distortion - d2t1 residual speed variation before some reel flips - d2t2 mixes changes at the start - d2t3 some distortion and a few very brief partial drop outs. 2:51 volume briefly drops - d2t4 distortion on vocals and some of Phil's chords - d3t1 reel flip cross faded with AUD - d3t2 reel flip cross faded with AUD - d3t5 opening notes cross faded from AUD, hiss level different than preceding tracks, more "AUD" like ambience Comments: I created this "SBD/AUD" matrix while matching the pitch of the circulating SBD to the audience tape. The results I think are very good. The audience tape is excellent but lacking mostly in bass while the SBD has little above 8 kHz, some distortion, and generally "flat", colourless sound. Simply put, the deficiencies in either source individually are compensated in the other so the matrix sounds significantly better than the individual AUD or SBD. The main technical difficulty I experienced was matching the pitch of the SBD to the AUD tape because it fluctuates throughout. I eventually divided the set 3 jam into intervals of 30 to 60 seconds in length and then pitch adjusted each individually to match as best as possible using isolated audio events present in both sources. After the SBD was pitched to the AUD, the gaps from the reel flips or gaps were cross-faded from the AUD. Finally, lowering the volume of the AUD by about 3dB relative to the SBD and applying no time shift of the AUD relative to the SBD created the SBD/AUD matrix. Clearly one can play around with the mix ratios and fixed time offsets. I looked for a combination that to my listening on headphones sounded like I was "on stage". There are still some artefacts that you will notice if you are listening for them: 1. Small errors in the pitch matching will produce different amounts of echo. 2. The main artefact is the slight pitch difference in the audience cross-fades in the SBD in Sugar Magnolia. This creates a "Moire effect" when matrixed with the AUD source whose pitch was unchanged. Basically, the "noise" is coherent in both sources so as the cross fade occurs, you detect a linear frequency ramp. Despite these errors, this is a great jam and hopefully you will be as stunned as apparently the audience was that night. |
| Source Info | SBD Source: SBD:MR>??>DAT>CDR; Aud Patch Source:MR*>cass>SB Live!>.wav>.shn>CD-R |
| Trades Allowed |
Performance
| Grateful Dead 1972-04-29 Musikhalle, Hamburg, Germany | |
|---|---|
| Set 1 | Playin' In The Band, Sugaree, Mr. Charlie, Black Throated Wind, China Cat Sunflower-> I Know You Rider, Big Boss Man, Jack Straw, Loser, Chinatown Shuffle, Me & My Uncle, Big Railroad Blues, Good Lovin', Casey Jones |
| Set 2 | Greatest Story Ever Told, He's Gone, Next Time You See Me, Dark Star-> Sugar Magnolia-> Caution (Do Not Stop on Tracks)-> Who Do You Love, E: One More Saturday Night, E: Uncle John's Band* |
| Set 3 | |
| Comment | Second Encore |