| Identifier | 6341243 |
| Created At | Sun Apr 23 2006 03:04:43 GMT+0000 (Coordinated Universal Time) |
| Media Type | Flac |
| Media Count | 21 |
| Show Rating | A+ |
| Sound Rating | A+ |
| Note | General Notes:
Given the two sources available on the Llama, I decided to put the effort into editing a matrix of this weird and powerful night at Colgate U. during their homecoming weekend. The Jerry Moore FOB AUD is an excellent recording, and the SBD is balanced with everyone in the mix and Keith featured prominently throughout. The two sources work well together even though the venue was basically an ice rink with steel walls. Music Notes: This show, albeit sloppy at points, epitomizes the ability of the band to take chances musically, knowing they can falter at any moment but also collectively discover something around the bend never before seen or heard. This is also reflected in the setlist which has some noteworthy aspects. The Let It Grow to end the first set is both out there and raging, purporting what is to come next. Technical difficulties allow time for Phil to introduce the band as the "Jones Gang" at the start of the second set. This level of hilarity is indicative of the playing to follow: loose, strange, daring, and plain old rockin'. Cold Rain & Snow hadn't been played in over a year and is one of two played in '77. The Playin' in the Band is very exploratory building to a crescendo that segues into the gem of the show: Eyes of the World - simply the most rockin' I have heard. Then, to top it off, they transition into Estimated, with Jerry sort of happening upon the song unexpectedly. This is the first Eyes > Estimated, with another on 11-5-79 and then not again until the famous night at Nassau with Branford Marsalis on 3-29-90. A powerful one-verse only Other One follows, and then the 4th Iko-Iko ever comes out of Drums. The Stella Blue is very intimate with Jerry crooning at the end similar to certain nights in the 90's. A very long and jammed out Playin' reprise ends the set at a fervent level, and the Johnny B. Goode to follow doesn't let up. Note that all of the missing elements from the SBD and AUD sources are just crowd segments in the first set (the missing elements being covered by the crowd segments of the other source). For the second set, the only music missing from the SBD source is a small portion of Drums (covererd by the AUD); and from the AUD source, a 6 second portion from the end of Eyes, and 3 seconds during the transition into Playin' Reprise (all covered by the SBD). Thus, all of the music is intact, full coverage being achieved by the combination of both sources. |
| Source Info | Matrix: (SBD/AUD mix) |
| Tech Note | SBD: MR > DAT > CD-R (shn ID #2595) AUD: MAC: Sony ECM 33Ps > Sony TC-158 > CDR (shn ID #15208) Taped by Jerry Moore [complete text files for each source appended at end] Transfer/Editing: Both sources were shn files downloaded from LMA and converted to WAV > Vegas 5 (matrix) > WAV > CD Wave > FLAC Frontend > FLAC 16 (level 8) Matrixed by Chris Chappell ScarFire@liquidcity.com 4/23/05 Editing Notes: - Pitch Both sources were pitched differently, the AUD being the sharpest, and the SBD being the flatest. I used the SBD as my master timeline and pitch referenced the AUD to it. The AUD on average had to be pitched down about .33 (33 cents) to achieve pitch correction - 1.00 being 100 cents which is a semitone. I did not reference A=440 as I did not desire to pitch adjust the SBD. It is very close though to A=440. - Synch Because of the speed fluctuation within a given source, multiple edits were performed to keep the sources synched. Because the SBD was my master pitch and time ref, the AUD was synched to the SBD (too many edits to list). - Sonic Quality/Matrix ratio The only dynamic processing I employed was a little bit of limiting (Waves L2) to the SBD source. All I was trying to do here is to add some dimension to the SBD by using the ambience of the AUD. The result is a lively but clear recording, hopefully close to how it sounded at the show. If I had to guess the SBD/AUD ratio would be somewhere between 3:1 and 4:1. - Edits The following are places where the SBD and AUD had splices, holes or incomplete coverage in reference to the final matrix timeline. Crossfades were used throughout for smooth transitions to a single source. SBD: d1t01 (0:00 - 0:03) - missing (crowd) d1t02 (6:10 - 6:30) - missing (crowd) d1t04 (4:49 - 4:53) - missing (crowd) d1t05 (7:23 - 7:25) - missing (crowd) d1t06 (4:10 - 4:23) - missing (crowd) d1t07 (5:19 - 5:30) - missing (crowd) d1t08 (6:09 - 6:13) - missing (crowd) d2t01 (0:30 - 1:08) - missing d2t03 (6:10 - 8:18) - missing (crowd) d3t01 (0:04 - 0:25) - missing d3t05 (0:00 - 0:08) - missing (crowd) AUD: d1t03 (5:45 - 5:56) - missing (crowd) d1t08 (6:16 - 6:25) - missing (crowd) d2t01 (0:14 - 0:25) - missing (crowd) d2t05 (11:49 - 11:55) - missing (tape flip) d3t04 (0:00 - 0:03) - missing (tape flip) |
| Trades Allowed |
Source
| SHNID | Date | Venue | City | State | Archive Identifier |
|---|---|---|---|---|---|
| 29091 | 1977-11-04 | Cotterell Gym, Colgate University | Hamilton | NY | |
| flac 16; SBD/AUD Matrix of 2 previously circulated seeds (SBD - shn ID #2595 & AUD - shn ID #15208); prepared by Chris Chappell | |||||
Performance
| Grateful Dead 1977-11-04 Cotterell Gym, Colgate University, Hamilton, NY | |
|---|---|
| Set 1 | Bertha > Good Lovin' Brown Eyed Women Cassidy It Must Have Been The Roses Sunrise New Minglewood Blues Dupree's Diamond Blues Let It Grow |
| Set 2 | Samson & Delilah > Cold Rain & Snow Playing In The Band > Eyes Of The World > Estimated Prophet > The Other One > Drums > Iko Iko > Stella Blue > Playing In The Band Encore: Johnny B. Goode |
| Set 3 | |
| Comment | Jerry Garcia - Guitar Bob Weir - Guitar Keith Godchaux - Keyboards Phil Lesh - Bass Bill Kreutzmann - Drums Mickey Hart - Drums Donna Jean Godchaux - Vocals |