| Identifier | 6372203 |
| Created At | Mon May 08 2006 03:08:59 GMT+0000 (Coordinated Universal Time) |
| Media Type | Flac |
| Media Count | 19 |
| Show Rating | A+ |
| Sound Rating | A+ |
| Note | General Notes:
Often overshadowed by the novelty of the night before, this was always a favorite show of those I attended because of the great performances by all band members. Highlights include a psychadelic ending on Iko (w/Phil on vocals too), a moving China Doll out of a very innovative modal jam post UJB, and a thunderous Dew out of Space. Given the multiple sources available on the Llama, I decided to put the effort into editing a matrix since I was never completely happy with the SBD. The result is a worthwile listen, especially given that none of the existing sources are complete. Music Notes: Everyone seemed to get a late start, thus the first few bars of Bertha are missing, the SBD being the only source for the first 4 seconds. Also, some of the tuning between Greatest Story and Dupree's is missing from all 3 sources, right before Bobby invokes the crowd's assisstance in getting people to stop lighting off fireworks. This timeline is most likely missing about 10 seconds of dead air and a few fireworks, due to everyone pausing their decks. The encore contains virtually no tuning, but other than that the whole show is intact. Tracking Notes: The entire show fits on 2 discs with Iko at the end of disc 1. The transition between the 2 discs can be put together seemlessly. Sector boundaries on the original matrixed wavs are all OK and confirmed by shntool without having to use the fix utility. (see shntool output of flac files below) |
| Source Info | Matrix |
| Tech Note | SBD - > ? > DAT > CD > EAC > WAV > CoolEdit2000 (retracking) > SHN AUD - Connor (FOB) Mics: Beyer Dynamic M88's > Sony TCD5M(CM) AUD - Oade (Tapers’ Section) Mics: Schoeps (2 x CMC441, 1 x CMC42) > Sony PCM-F1 > Sony Portable BetaMax Transfer/Editing: All sources were snh files downloaded from LMA and converted to WAV > Vegas 5 > WAV > FLAC Matrixed by Chris Chappell ScarFire@liquidcity.com 12/23/04 Editing Notes: - Pitch All 3 sources were pitched differently, the SBD being the sharpest, and the Oade AUD being the flatest. Since the FOB AUD was also the most intact, I used this as my master timeline and pitch reference to which the other two sources were synched. The SBD had to be pitched down on average about -.20 (20 cents) while the OADE AUD was pitched up on average about +.12 (12 cents) - 1.00 being 100 cents which is a semitone. Thus the SBD was about a fifth of a semitone sharp. It is possible that the Oade Brothers' source is closest in pitch to A=440, but since I used this source sporadically, it was easier to pitch everything to Charlie Connor's FOB AUD. My guess is that A=440 lies somewhere between the 2 AUD sources. Antares auto-tuner would reveal the truth, but I care not to know, whatever sounds good is best. - Speed Fluctuation Remember that all 3 field recording devices employed the reel (even the Sony BetaMax) which resulted in speed fluctuation and thus pitch variations. The most noticeable is the SBD source because the cassette deck used to record it is powered by the same juice as the whole Front Of House, and combined with ELF from Phil the volts going to the deck definately varied - not to mention pausing, which takes a while for the reels and the motor to settle on a constant speed. The SBD speed flux could also be attributed to multiple generations from late 80's tape decks. Since the AUDs were running off of battery power, much less speed fluctuation exists. - Synch Even after pitch correcting the other two sources to the FOB AUD, because of the speed fluctuation within a given source, multiple edits were performed to keep the sources synched. Because the FOB was my master pitch and time ref, the SBD was synched to the FOB (too many edits to list). - Sonic Quality/Matrix ratio The SBD suffers from many issues, the main one being that it is extremely compressed which not only kills the dynamic response, but introduces hiss and some serious peak-shaving. The FOB AUD is nice and balanced, while the Oade AUD has some low end added in post by Doug due to the bass roll-off used on the Schoep mics (see txt below). As a result, I employed no EQ nor Compression finding the blend between the SBD and the FOB AUD to be quite full. The Oade AUD has more of the Coliseum sound in it due to their proximity to the stage, while the FOB is closer in proximity, but still picks some of the "room". Conceptually, all I was trying to do here is to add some dimension to the SBD, which is pretty flat, by using the ambience of the FOB AUD. The Oade AUD is used mainly to patch spots where both the FOB and SBD were lacking in coverage. 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 FOB AUD had holes or incomplete coverage in reference to the final matrix timeline. The OADE AUD edits are patches. There are a few spots where all 3 sources are employed at the same time, really only because of desire for smooth transitions between sources. |
| Trades Allowed |
Source
| SHNID | Date | Venue | City | State | Archive Identifier |
|---|---|---|---|---|---|
| 27582 | 1985-11-02 | Richmond Coliseum | Richmond | VA | |
| flac16; Matrix from 3 sources: SBD> ?> DAT> CD> EAC> WAV> SHN; AUD - Connor (FOB) Mics: Beyer Dynamic M88's; AUD - Oade (Tapers? Section) Mics: Schoeps (2 x CMC441, 1 x CMC42)> Sony PCM-F1; Matrixed by Chris Chappell | |||||
Performance
| Grateful Dead 1985-11-02 Richmond Coliseum, Richmond, VA | |
|---|---|
| Set 1 | Bertha > Greatest Story Ever Told Dupree's Diamond Blues C.C. Rider > Althea My Brother Esau Candyman Let It Grow |
| Set 2 | Iko Iko Estimated Prophet > Uncle John's Band > China Doll > Drums > Space > Morning Dew > Throwing Stones > Turn On Your Lovelight Encore: It's All Over Now, Baby Blue |
| Set 3 | |
| Comment | Jerry Garcia - Guitar Bob Weir - Guitar Brent Mydland - Keyboards Phil Lesh - Bass Bill Kreutzmann - Drums Mickey Hart - Drums |