Grateful Dead

<i>Matrix 2 Source Mix</i> - SBD (shnid = 137337) Recording Info: SBD > Dat Master (Panasonic SV-3700/48k); Transfer Info: Dat Master (Sony R500) > Sound Devices 744T > Samplitude Pro X3 Suite > FLAC/48k; All Transfers and Mastering By Charlie Miller + AUD (shnid = 140821) Source: (FOB) Schoeps MK41 > Panasonic SV-255 > dat(48k);

Lineage:

dat > Sony PCM-R500 > Tascam DA-3000> wav 16/48; Lineage: wav > iZotope RX6 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac 1648; edited and mastered SIRMick January 2018 - matrix mixing by Kevin Tobin

Taper Notes:

View NotesSBD + AUD Matrix 2 Source Mix (44/16)

---------------------------------------------------------
- Mixed by kevtobin@yahoo.com
- FLAC conversion 18-AUG-2018 - Trader Little Helper
- Tagged 18-AUG-2018 - Tag&Rename
---------------------------------------------------------
Brokedown House Production

gd1993-09-22.137337.sbd.miller.flac1648

Source:

SBD > Dat Master (Panasonic SV-3700/48k)

Lineage:

Dat Master (Sony R500) > Sound Devices 744T > Samplitude Pro X3 Suite > FLAC/

Taper Notes:

View NotesNotes:
-- Bird Song through end of show with David Murray on Sax
-- Turn On Your Lovelight with James Cotton on Harmonica

Matrix by Roger Eichorn

SHNID:

gd1993-09-22.126108.mtx-redo.eichorn.flac16

Source:

Matrix Source 1: SBD (shnid=77070); SBD:DAT-> CDR; EAC-> WAV-> SHN and Source 2: AUD (shnid=91805) Recording Equipment: Soundfield AMS ST-250 Microphone using Blumlein configuration. Both sets recorded on stand (at 6'3") > Panasonic SV 255. Recording Location: FOB DFC Section 2, Row M, Seat 1; Recorded By: James Young & Clay Brennecke;

Lineage:

DAT Master > TASCAM DA-20 (SPDIF out) > LynxTWO-B Audio Reference Interface (SPDIF in) > Wavelab 6.0

Taper Notes:

View NotesThis is the *third* matrix of this show that I've released.  Why?  Well, the first copy was also my first attempt at a matrix.  I created it using an audience copy that I had in my collection.  After releasing that matrix on etree, and while looking around for an audience copy of 9/28/93, I remembered that on archive.org I could get virtually any audience copy of virtually any show.  After grabbing a couple AUD sources of 9/28/93 (for my second matrix), I decided to check out what was available for 9/22.  Sure enough, I found AUD sources that are superior to the one I had used in my matrix.  So I downloaded the one I decided was best (the GEMS source), made a new, three-source mix with the GEMS source added in, and released a second version.

Since then, I've improved both my syncing and my mastering techniques significantly enough that I decided it was worth redoing my first matrixes.  Hence, I'm releasing a third mix of 9/22/93.  On top of superior syncing and (I hope) superior mastering, this copy also boasts a superior third source.  I've jettisoned the AUD source I used in my first matrix.  As it happens, it is possibly the worst AUD source available for the show!  In its place, I've used the Pasternak AUD.  I think the results justify a third release.  I hope you agree.
--------------------------------------

General Notes:

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their prior efforts.

- Looking for that elusive (some would say 'mythical') jewel, the 'late-era gem'?  Look no further -- you've found it.  9/22/93 is exceptional in a number of ways.  First, and most importantly, the energy level is, throughout much of the night, almost unprecedentedly high for a post-'91 show.  The band comes out firing on all cylinders with a tight, brisk "Help > Slip > Frank."  The opener is undoubtedly the highlight of the show, but what follows does not disappoint.  Every song in the first set is played with purpose and conviction.  The addition of David Murray on sax, starting with "Bird Song" and continuing through most of the second set, creates an excitingly unpredictable atmosphere and is another reason this show stands out.

Now, many will criticize Murray; they will compare his playing unfavorably to Branford Marsalis's work with the Dead.  There's no question that Murray's approach differs wildly from Marsalis's: whereas Marsalis provides a sort of 'running commentary' on the music, Murray will hang back for long stretches, only to suddenly unleash a torrent of avant-garde insanity.  The sheer strangeness he brings to certain passages makes Marsalis look staid and conservative in comparison.  This remark is not intended to diminish Marsalis's performances with the Dead: of the two, I think there can be no question that he's the better accompanist.  But Murray brings something unique to the table, and 9/22/93 benefits from his presence.

The second set is somewhat disappointing after the consistency of the first.  Bobby could hardly have made a more underwhelming selection than "Easy Answers" with which to start things out.  But the "Lazy River Road" is very nice (one of the best, probably), with a sweet bit of crooning from Murray toward the end.  The "Estimated Prophet" is also well-done, if a bit meandering.  A less-than-stellar "Dark Star" (pun intended) is made up for by an excellent "Wharf Rat," which follows a truly mind-bending "Space."  James Cotton steps in for "Throwing Stones" and "Lovelight" to good effect.

In sum, though it peaks early, never managing to live up to the promise of its opener, 9/22/93 is most certainly that rare specimen, the late-era gem.

Source Notes:

- Both sets are seamless.

- The SBD is missing (a) some crowd-noise before "Masterpiece" and (b) some crowd-noise before "I Fought the Law."

- The Pasternak AUD is missing (a) some crowd-noise after Ramble On Rose, (b) the beginning of "Masterpiece," (c) the beginning of "Bird Song," (d) some crowd-noise after "Lazy River Road," (e) about 25 seconds of "Drums," and (f) some crowd-noise before "I Fought the Law."

Technical Notes:

- The sources were remastered and mixed in Logic Pro 9.  Clean-up was done in iZotope RX 3 Advanced.  SBE's were fixed using Trader's Little Helper.

- I speed- and pitch-corrected both AUD sources uses the iZotope Radius algorithm.  Fine-tune syncing was done in Logic Pro 9.

Roger Eichorn
www.facebook.com/freshdeadlegs/
November 11, 2013

2:34:24

SBD

Transferrer:

Matrix by Roger Eichorn

SHNID:

gd1993-09-22.125353.mtx.eichorn.sbeok.flac16

Source:

Matrix using the following three sources: Source 1: SBD (shnid=77070) SBD:DAT-> CDR-> EAC-> WAV-> SHN; Source 2: AUD (shnid=91805) Recording Equipment: Soundfield AMS ST-250 Microphone using Blumlein configuration. Recorded By: James Young & Clay Brennecke and Source 3: AUD (shnid=97122) Schoeps MK4's>Rbox>Panasonic SV-255 FOB>Tascam DA-30MKII>Sound Devices 702>Soundforge 8 (fades, Sample Rate Conversion)>CDWAV>FLAC; Recorded & Transferred By Keith Litzenberger

Taper Notes:

View Notes*  David Murray on sax
#  James Cotton on harmonica

-----------------------------------------

General Notes:

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their prior efforts.

- Both sets are seamless.

- This is a redo of an earlier matrix done by me (shnid=125350).  The two sources differ in that this matrix uses Source 2 (see above); the earlier matrix used only Source 3 (see above) for the AUD portion of the matrix.

Technical Notes:

- I manually cleaned up numerous digipops and sundry imperfections in the SBD source (as well as a couple in the AUD 2).  For this, I used Izotope RX 2 Advanced.

- The SBD source was clipped.  I used the Declip function in Izotope RX 2 Advanced to restore some of the dynamics.

- I remastered the SBD and the AUD sources individually, prior to combining them.

- I sped up shnid=91805 by 0.01% using the Izotope Radius algorithm.  (The other two sources were for all intents and purposes identical, speed-wise.)  More fine-grained syncing was done manually.

- The files were remastered and mixed in Logic Pro 9.  They were split in WaveLab LE 7.  SBE's were fixed using Trader's Little Helper.

Roger Eichorn
reichorn@gmail.com
August 8, 2013

2:34:31

SBD

Transferrer:

Matrix by Roger Eichorn

SHNID:

gd1993-09-22.125350.mtx.eichorn.sbeok.t-flac16

Source:

Two Source Matrix of Source 1: SBD (shnid=77070) SBD:DAT-> CDR-> EAC-> WAV-> SHN by yubah) and Source 2: AUD (97122) Schoeps MK4's>Rbox>Panasonic SV-255 FOB>Tascam DA-30MKII>Sound Devices 702>Soundforge 8 (fades, Sample Rate Conversion)>CDWAV>FLAC Recorded & Transferred By Keith Litzenberger

Taper Notes:

View NotesNotes:

- I manually cleaned up numerous digipops and sundry imperfections in the SBD source (as well as a couple in the AUD).  For this, I used Izotope RX 2 Advanced.

- The SBD source was clipped.  I used the Declip function in Izotope RX 2 Advanced to restore some of the dynamics.

- I remastered the SBD and the AUD sources individually, prior to combining them.

- Both sets are seamless.

- Thanks go to everyone who worked on and made available the sources used in this matrix.  Obviously, this project would have been impossible without their earlier efforts.

Roger Eichorn
reichorn@gmail.com
August 8, 2013

gd1993-09-22.sbd.murray-yubah.77070.shnf

Source:

SBD:DAT-> CDR

Taper Notes:

View NotesNotes
- occasional small digipops 
- d1t05 "Shangri-La" tuning before "Ramble On"
- d1t08 thru to end w/ David Murray on Saxophone (except Encore) 
- d3t05/6 w/ James Cotton on Harmonica
- Only two more Dark Stars played
(03-16-94 Rosemont Horizon, Rosemont, IL & 03-30-94 The Omni, Atlanta, GA.)

info taken from  http://www.angelfire.com/pq/WinterOakTree/tree3.html
(broken link? -ret)

Seeded by an anonymous source with DAT's provided by David Murray.

EAC-> WAV-> SHN:  by yubah)
yubah@optonline.net

ret's notes:
========
I received the shns tracked for three discs, with set 1 on disc 1 and the second set split in
the middle of drums>space on discs 2 & 3. I re-tracked for two discs by moving the first two
tracks of set two onto disc one and rejoining drums>space. Approx. 21 sec. of silence were 
removed to make the transition seamless, using cdwav editor. I also retracked track one (which
originally consisted of "tuning>H>S!>F") into three distinct tracks. Lastly, I also retracked the 
first song in set 2 (Easy Answers), to separate the tuning at the beginning. No editing of the 
waveforms was carried out.

The sector boundaries of all tracks were checked with shntool, and found to be fine. I re-shn'd
the tracks (seekable) with mkwACT.
ret, 
2004-07-14 

gd93-09-22.sbd.yubah.565.sbeok.shnf

Source:

DSBD> DAT> CDR> EAC> WAV> SHN

Taper Notes:

View NotesDSBD> DAT> CDR> EAC> WAV> SHN; Seeded by an anonymous source with DATs
provided by D. Murray, who sat in; EAC/SHN, u/l by Rich (yubah); stemming
from <a href="http://www.angelfire.com/pq/WinterOakTree/tree3.html" rel="nofollow">Winter
Oak tree</a>; see pub comments for flaw note

2:34:47

Transferrer:

Charlie Miller and SIRMick

SHNID:

gd1993-09-22.140821.fob.Schoeps-MK41.miller.sirmick.flac1648

Source:

<b>flac16/48kHz</b>; Source: (FOB) Schoeps MK41 > Panasonic SV-255 > dat(48k); Transfer: dat > Sony PCM-R500 > Tascam DA-3000> wav 16/48; Lineage: wav > iZotope RX6 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac 1648; edited and mastered SIRMick January 2018

Taper Notes:

View Notesguests:

David Murray - saxophone (1) 
James Cotton - harmonica (2)

Thanks to Charlie Miller for providing this source and doing the transfer


edited and mastered 
SIRmick
January 2018

gd1993-09-22.schoeps.andrewf.131736.flac1644

Lineage:

MAD > Sony D8 > Optical out > Edirol FA-66 > Wavelab 1644 > CD-Wave > TLH > FLAC 1644 tagged. Recording & transfer by Andrew F.

gd1993-09-22.109235.nakcm300-pasternak.mallick.flac16

Source:

Master: OTS Nakamichi CM300/cp4's>Sony TC-D5M>Cass(m), Nak DR-2>Tascam CDRW2000>CD by Jon Pasternak Extraction: CD>xACT 2.00a (cdparanoia)>WAV>FLAC, all tracks extracted with no errors by Dave Mallick

gd1993-09-22.schoepsmk4.litzenberger.97122.flac16

Source:

Schoeps MK4's>Rbox>Panasonic SV-255 FOB>Tascam DA-30MKII>Sound Devices 702>Soundforge 8 (fades, Sample Rate Conversion)>CDWAV>FLAC

Taper Notes:

View Notes* w/David Murray
+ w/James Cotton

2:59:38

Taper:

James Young & Clay Brennecke

Transferrer:

Jamie Waddell

SHNID:

gd1993-09-22.fob.GEMS.91805.flac16

Source:

Soundfield AMS ST-250 Microphone using Blumlein configuration. Both sets recorded on stand (at 6'3") > Panasonic SV 255.

Lineage:

DAT Master > TASCAM DA-20 (SPDIF out) -> LynxTWO-B Audio Reference Interface (SPDIF in) -> Wavelab 6.0

Taper Notes:

View NotesNotes: 
* w/David Murray 
+ w/James Cotton

gd93-09-22.schoeps-dankseed.raras.8712.sbeok.shnf

Source:

Audience: Schoeps mk21's

Lineage:

Schoeps mk21's (ORTF/DFC) > KC5 actives > CMC5 > Sonosax SX-M2 > Sony D10 (48kHz) > Sony R500 (master DAT) > Canare Coax > Sek'd Prodif Plus > Soundforge 5.0 (resample) > CD Wave > SHN v3 (seekable)

Taper Notes:

View NotesDAUD/FOB Schoeps mk21(ORTF); **No DAE at all**; via Eliot Byron; Seeded to etree by Jim Raras; <a href="http://groups.yahoo.com/group/dankseeds/files/gd1990-03-22" rel="nofollow">Dankseed</a> certified

James Young and Clay Brennecke

SHNID:

gd93-09-22.ST250s.brennecke-young.4533.sbeok.shnf

Source:

Audience: AMS ST-250

Lineage:

AMS ST-250 (blumlein) > Panasonic SV 255 > Sony PCM-M1 > Oade 7pin/coax active cable > Midi-Man CO2 > Zoltrix Nightengale > Cool Edit 2000 > CD Wave > mkwACT > SHN

Taper Notes:

View NotesRecorded FOB/DFC by James Young & Clay Brennecke using:
Sec. 2 - Row M - Seat 1
AMS ST-250 run Blumlein on stand both sets at 6"3' > Panasonic SV 255