gd89-12-28 s2t10 Turn On Your Lovelight | 1989-12-28 | Grateful Dead

View NotesNotes:
-- Drums with Willie Green III
-- Recorded by Dan Healy and Don Pearson
-- Thanks to Ted Mattes for the patch source
-- Thanks to Joe B. Jones for the pitch correction settings
-- This is 153956 2496 > 1644

SOURCE 2 OF 15

2:30:29

SBD

Taper:

Recorded by Dan Healy and Don Pearson

Transferrer:

All Transfers and Mastering by Charlie Miller charliemiller87@earthlink.net October 15, 2021

SHNID:

gd1989-12-28.153956.ultramatrix.miller.flac2496

Source:

UltraMatrix SBD > Cassette Master (TDK MA-X90)

Lineage:

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Adobe Audition 2020 > Samplitude Pro X6 Suite > FLAC/24

Taper Notes:

View NotesNotes:
-- Drums with Willie Green III
-- Recorded by Dan Healy and Don Pearson
-- Thanks to Ted Mattes for the patch source
-- Thanks to Joe B. Jones for the pitch correction settings

SOURCE 3 OF 15

gd1989-12-28.sbd.miller.32254.sbeok.flac16

Source:

SBD -> Master Cassette

Lineage:

Master Cassette -> Sonic 20-bit -> SBM2 -> CD

Taper Notes:

View Notes-- Drums appears on Infrared Roses (w/ Willie Green III)
-- Encore is on disc One to fit show onto 2 discs
-- Thanks to David Gans for supplying the discs.

SOURCE 4 OF 15

Scott Clugston and Charlie Miller

SHNID:

gd1989-12-28.142684.schoeps-akg414.composite.mattes.miller.clugston.flac1648

Taper Notes:

View NotesNotes:
- Thanks to Ted Mattes for the master Dat recording of the 1st set, as well as the Dat clone of the 2nd Set
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Charlie Miller for the shnid322254 ultramatrix source which supplies a 0:36 patch in "Queen Jane Approximately"

Mastered by Scott Clugston
July 10, 2018

SOURCE 5 OF 15

Scott Clugston and Charlie Miller

SHNID:

gd1989-12-28.142684.schoeps.akg.414.composite.mattes.miller.clugston.flac1648

Taper Notes:

View NotesNotes:
- Thanks to Ted Mattes for the master Dat recording of the 1st set, as well as the Dat clone of the 2nd Set
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to Charlie Miller for the shnid322254 ultramatrix source which supplies a 0:36 patch in "Queen Jane Approximately"

Mastered by Scott Clugston
July 10, 2018

SOURCE 6 OF 15

2:32:42

SHNID:

gd1989-12-28.165021.mtx.seamons.ht159.flac16

SOURCE 7 OF 15

gd1989-12-28.140421.fob.AA.toak1.flac1644

Source:

Recorded and Mastered by ArchivalAudio [Ian Stoy]; Front Of Board Master Audience cassette: Toa K1’s head high > Sony WM-D6c; media: Maxell (Metal position IV) MX c90’s Dolby C on; Mastering: Tascam 302 Dolby C on > ArchivalAudio silver-gold RCA>1/4” TS > Zoom F8 at 24/48; Transcend 600x SDHD class10 U1 128gb; Transcend usb 3 card reader > MacMini 3 GHz i7/16GB DDDR3; Audacity: Fades/Tracking normalize to -.9db remove DC offset > flac24; xACT Flac Fingerprints

Taper Notes:

View NotesNotes:
______________

I was taping with taper buddy, John DeTally and we were up front in the quite zone with John Ammons, and I think Clay and or Sean, though I am not sure of who exactly we were with, we were acting as quiet blockers and redirecting folks around as best we could. John DeTally and I took turns wearing the mics and running the decks, both WM-D6C's Mine first then his.  The blanket space was about half way between the house soundboard mix position and the stage and was fairly large I believe it was 4 large king size tie died sheets sewn together... plus made a few others surrounding the quite fob taping zone... It sounds very sweet way up in there.

I had DIY'd my To a K1 capsules  to be "active" from the bodies sometime in 1988 , I believe. Later Some on I knew "machines some threaded parts, though out of aluminum, and with the fine threading it proved to be too soft and would occasionally lose connections, I think for this run I simply had the cables electrical taped on to the caps and bodies. There were multiple pops and high transient clips and crackles, in the left channel. I only ran 12/27 and 12/28 upfront, I did not want the stress on 12./30 or 12/31 so I ran from way in the back in the Official Taping Section (OTS) which was not even on the floor, but in the back elevated stands.
Finally I am able to master both of these FOB nights, and use the right channel to patch the left, where needed. It is certainly a labor of love, but well worth the effort I hope that you enjoy the recordings too.

No EQ or other effects were applied.

Tech Notes:

first 3 minutes of set 1 had multiple patches in LTGTR with the right used for left (AKA mono). Only about 30 seconds of LTGTR patched.
The rest of set one is unpatched.

No patches in second set

For many years this was the only source I had to listen to my own and is why I started taping, so I could hear the shows I attended.

enjoy - ArchivalAudio

SOURCE 8 OF 15

gd1989-12-28.140375.AA-fob-toak1.flac2448

Source:

Taper Notes:

View NotesNotes:
______________

I was taping with taper buddy, John DeTally and we were up front in the quite zone with John Ammons, and I think Clay and or Sean, though I am not sure of who exactly we were with, we were acting as quiet blockers and redirecting folks around as best we could. John DeTally and I took turns wearing the mics and running the decks, both WM-D6C's Mine first then his.  The blanket space was about half way between the house soundboard mix position and the stage and was fairly large I believe it was 4 large king size tie died sheets sewn together... plus made a few others surrounding the quite fob taping zone... It sounds very sweet way up in there. 

I had DIY'd my To a K1 capsules  to be "active" from the bodies sometime in 1988 , I believe. Later Some on I knew "machines some threaded parts, though out of aluminum, and with the fine threading it proved to be too soft and would occasionally lose connections, I think for this run I simply had the cables electrical taped on to the caps and bodies. There were multiple pops and high transient clips and crackles, in the left channel. I only ran 12/27 and 12/28 upfront, I did not want the stress on 12./30 or 12/31 so I ran from way in the back in the Official Taping Section (OTS) which was not even on the floor, but in the back elevated stands.
Finally I am able to master both of these FOB nights, and use the right channel to patch the left, where needed. It is certainly a labor of love, but well worth the effort I hope that you enjoy the recordings too.

No EQ or other effects were applied. 

Tech Notes:

first 3 minutes of set 1 had multiple patches in LTGTR with the right used for left (AKA mono). Only about 30 seconds of LTGTR patched. 
The rest of set one is unpatched.

No patches in second set

For many years this was the only source I had to listen to my own and is why I started taping, so I could hear the shows I attended. 

enjoy - ArchivalAudio

SOURCE 9 OF 15

1:07:00

Transferrer:

John Ammons and Joe Noel

SHNID:

gd1989-12-28.139207.FOB.s1.Schoeps.Ammons.Noel.t-flac16

Lineage:

from his DAT clone of the master. Tascam DA20 Mark II DAT > Roland SRC-2 sample rate/format converter (from SPDIF to Optical) > Mac Mini > Audacity 3.0 at 48K > Wave; Edited & Mastered in Audacity by Joe Noel: flac 16/48; Checksum & tags created in xACT

Taper Notes:

View Notes- Could be a Weber pull, could be a Mattes, could be both.
- Could be watermelons.

SOURCE 10 OF 15

gd1989-12-28.131028.cmc521.fob.deal.jwpetty.flac16

Source:

Digital FOB by Lance Deal using Schoeps CMC 521's (FOB)> Schoeps VMS 52 UB> Technics SVMD1; Master DAT provided by Lance Deal;

Lineage:

Fostex D-5 (optical)> M-Audio USB Transit> Audacity @ 16/48> 16/44> CDWave(tracking)> TLH (SBE/Flac16/md5); Transferred and liberated to bt.etree on August 24, 2014 by jwpetty

SOURCE 11 OF 15

gd1989-12-28.Nak300CP4.Baker.Keo.126031.Flac1644

Source:

Master Audience Recorded By Mr. Baker, Transfer By Keo; Nakamichi CM300/CP4 Shotguns > Sony D6, Tapes: Maxell XLII-S 90, 100; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion With AudioGate Software To 32/96 kHz Wave; Dithered/Flacked With Korg Aqua To 16/44; SBE's Checked/Fixed With Trader's Little Helper; Metadata Tagging With Tag&Rename

Taper Notes:

View NotesComments:Another Huge Thanks out to Mr. Baker
for recording and sharing his source for this
show!Another excellent share from Mr. Baker's
collection of master recordings and the Grateful
Dead's December run of shows!!!!!
AS ALWAYS ENJOY!!!!!!!!!!!!!!!!

SOURCE 12 OF 15

gd1989-12-28.Nak300CP4.Baker.Keo.126030.Flac2496

Source:

Master Audience Recorded By Mr. Baker, Transfer By Keo; Nakamichi CM300/CP4 Shotguns > Sony D6, Tapes: Maxell XLII-S 90, 100; Transfer With Nakamichi MR-1 > Korg MR-1000 @ 1 Bit/5.6 MHz; Tracking/Sample Rate Conversion/Flacked With AudioGate Software To 24/96 kHz; Metadata Tagging With Tag&Rename

Taper Notes:

View NotesComments:Another Huge Thanks out to Mr. Baker
for recording and sharing his source for this
show!Another excellent share from Mr. Baker's
collection of master recordings and the Grateful
Dead's December run of shows!!!!!
AS ALWAYS ENJOY!!!!!!!!!!!!!!!!

SOURCE 13 OF 15

gd1989-12-28.117731.NeumannKMF4.daweez.d5scott.flac16

Source:

Source: 2 Neumann KMF4 microphones > Sony TC-D5M - analog master cassettes;

Lineage:

Sony TC-D5M (original record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac files

Taper Notes:

View Notes---------------------------------
R.I.P. Sandy - aka "Bigfoot"  
---------------------------------

SOURCE 14 OF 15

Keith Litzenberger & Gerry Gordon

Transferrer:

Keith Litzenberger

SHNID:

gd1989-12-28.sennme80.wklitz.91643.flac

Source:

Sennheiser ME-80's>Technics SV-MD1 from front of Taper's Section

Lineage:

DAT Master>Tascam DA-30MKII>Sound Devices 702>Wavelab 5 (Fades and Sample Rate Conversion)>CDWAV>FLAC

SOURCE 15 OF 15

2:26:27

SHNID:

gd1989-12-28.fob.oleynick.12565.sbeok.shnf

Source:

2 Beyer M160 FOB > Sony TCD5M Cassette Master > SHN