SBD + AUD Matrix (60%-SBD/40%-AUD) ——————————————————— Source Info SBD Recording Info: SBD > Cassette Master (Nak 550) > Cassette (Sony D5) Transfer Info: Cassette (Nakamichi DR-1) > Sound Devices 744T (24bit/48k) > Samplitude Professional v10 > FLAC/16 AUD Recording Info: FOB > Sony ECM-250 > Cassette Master (Sony TC-158/TDK SA-C90) Transfer Info: Cassette Master (Nakamichi DR-1) > Sound Devices 744T (24bit/96k) > Samplitude Professional v10 > FLAC/16 Patch Info: Nak 700 > Cassette Master > Reel > Dat > CD (shnid=9799) ——————————————————— Notes on the Source Material This mix is only possible b/c of the masterful 24 bit transfers done by Charlie Miller and the incredible recordings by Joani Walker and Paul Scotton. Big thanks to all of them for their hard work and tremendous afforts in making these available to me and now to you. When Charlie heard the SBD and the AUD source he gave a call and said I have a perfect candidate for a matrix mix. And he was 100% right. Combining these 2 recordings I allow us to hear this show the way it was meant to be listened to. The SBD recording has Garcia very, very low in the mix. However, the AUD source has Jerry front and center just where you want him. By putting these sources together I approximate that Jerry’s guitar has increased in volume anywhere from +3bd to +5db in the mix. Now you can understand the artwork that states “Yes Jerry, we hear you loud and clear.” The SBD derived from a 1st generation analog source the consistent speed and low hiss is remarkable. If I was not told that this was a 1st gen cassette I easily would have thought it was a master cassette source. The speed between the SBD and the AUD ran extremely close. This really shows the great equipment, incredible recordings by Joani Walker/Paul Scotton and the perfect digital transfers by Charlie Miller. ——————————————————— Tech Notes Charlie Miller sent me the 24/48 waves files as one long track for each set. CEP2.0 was used to align & synch both sources (time compress and expand). CEP2.0 was used to preform the multitrack mixdown at 16/44. This is a 60% SBD, 40% AUD mix. – Mixed by dan@am-dig.com – FLAC conversion 18-MAR-2008 – Artwork by dan@am-dig.com 300dpi – For best results print at the highest resolution onto glossy photo paper. Design for use with a clear, slim, double CD case. – Special thanks to unknown photographers that helped with all the images used for the artwork. ——————————————————— Multitrack Mixdown Settings Stereo Matrix SET ONE SBD -2 AUD -6 SET TWO SBD -2.5 AUD -6 ——————————————————— Notes Both the SBD and the AUD at every opportunity was pause between songs on both sets causing abrupt transitions. I huge effort was made (fades, crossfades, volume changes and “borrowing” crowd cheer from different areas) to make these between songs transitions as smooth and sounding as natural as possible. In most situations these edits came out very nice and are no longer audible. d1t01 “Tuning” approx the first 15 seconds is made up entirely of the AUD source then crossfades to the SBD before Jack Straw starts. This is smooth and is most likely undetectable. d1t02 “Jack Straw” after the song ends Bob Weir says “Good evening and welcome to the late show”. This was missing from the AUD source. I patch this with the Nak 700 FOB in Jack Straw at (5:41 – 5:53). This created a slight bit of phasing but is hardly noticeable and I decided I’d like to keep the stage banter intact. d2t11 “Tuning” approx the first 1 min 25 secs is made up entirely of the AUD source then crossfades to the SBD before Shakedown starts. This is smooth and is most likely undetectable. d2t11 “Drums” on the SBD source was missing material from (0:18 – 0:40). I used a matrix mix of the AUD and the NAK700 source to fill this hole. This is smooth and is most likely undetectable and shows how great the AUD sources are. d2t11 “Drums” on the AUD source was missing material from (5:38 – 5:57). I patch this with the Nak 700 FOB source. This source was upsampled to match the 24/48 high resolution. This is smooth and is most likely undetectable. ——————————————————— Notes on the Sound Samples I am sorry all the sound sample are from the second set. By the time I decided to create sound samples I had already removed and archived all the first set files. Sample_1 This is just a clip of the matrix mix to give you an idea of what to expect. Note the subtle changes in sound over the straight SBD. The extra warmth and lingering notes from the guitar and the additional “thump” to the bass. Sample_2 This sample gives you a quick A/B/C comparison of the straight SBD, followed by the AUD and the matrix. You’ll hear a 15 second clip of the SBD, followed by a 15 second clip of the AUD, followed by a 15 second clip of the Matrix. 15 seconds SBD, 15 seconds AUD, 15 seconds Matrix and so on. (There are no crossfades and transitions left intentionally abrupt.) Sample_3 This sample gives you a comparison of the SBD and the Matrix and how the Matrix helps bring Jerry Garcia back into the mix. You’ll hear a 15 second clip of the SBD, followed by a 15 second of the Matrix. 15 seconds SBD, 15 seconds Matrix and so on. Note how Garcia enters into the mix at approx +3db over the SBD. Sample_4 Here you get to hear a clip of all 6 channels represented in the 5.1 surround sound, multichannel mix. The order is as follows: (25 Second clips of each) Front Left/Right > Center > Sub/LFE > Surround Left/Right These are MP3’s created from the original 24/48 waves files, take it for what they are. But it does give you some idea.

Set 1 Jack Straw Loser Me & My Uncle > Big River Althea Easy to Love You > Minglewood Blues China Cat Sunflower > I Know You Rider Set 2 Shakedown Street > Samson & Delilah Ship of Fools Terrapin Station > Lost Sailor Saint Jam > Saint Of Circumstance > Estimated Jam > Brent & Drums > Drums > Not Fade Away > Black Peter > Sugar Magnolia Encore: Alabama Getaway > The Promised Land

See Notes

Dan Haugh and Charlie Miller