| Identifier | 8543887 |
| Created At | Tue May 23 2023 23:54:00 GMT+0000 (Coordinated Universal Time) |
| Media Type | SHN |
| Media Count | 1 |
| Show Rating | A |
| Sound Rating | A |
| Note | SBD Source: SBD>MR>??>DAT>CDR
Aud Patch Source: MR>cass>SB Live!>.wav>.shn>CD-R. --believed to be Uher Reel Machine at 4.75 cm/sec-- Aud seed disks provided by eurodead.net mastered by Bernd Weiskircher SBD Seed disks from Raoul Duke Pitch correction, aud patches, matrixing and SHN Conversion by mvernon54@home.com Part of The Music Never Stopped Project 2003. Disk 1 [58:36] Set 2 Jam 01. Dark Star-> 02. Sugar Magnolia-> 03. Caution (Do Not Stop on Tracks)-> Who Do You Love |
| Source Info | AUD-SBD Matrix of the Set 2 Jam |
| J-Card Comment | 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 8kHz, some distortion, generally flat, colorless sound. Simply put, the deficiences 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 crossfaded from the aud. Finally, the sub-aud matrix was created by 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. 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 artifacts 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 artifact 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. Bascially, 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. |
| Traded From | shnflac.net |
| Trades Allowed | |
| Attendence | No |
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 |