Wang Dang Doodle | 1992-02-22 | Grateful Dead

View NotesPatch Info:
(FOB) Schoeps CMC3/MK4 > DAT (shnid=77722) supplies:
Space (1:12 - 2:46)

Notes:
-- Recorded by Don Pearson and Dan Healy
-- The signal from the board was too loud and is oversaturated but still has it's moments
-- This file set is 16 bit @ 44.1

SOURCE 2 OF 8

2:43:01

SBD

Taper:

Don Pearson and Dan Healy

Transferrer:

All Transfers and Mastering By Charlie Miller charliemiller87@earthlink.net May 8, 2020

SHNID:

gd1992-02-22.149848.sbd.miller.flac2496

Source:

SBD > Cassette Master (TDK SA-X100)

Lineage:

Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > dBpoweramp > Adobe Audition CC 2015 > Samplitude Pro X4 Suite > FLAC/24

Taper Notes:

View NotesPatch Info:
(FOB) Schoeps CMC3/MK4 > DAT (shnid=77722) supplies:
Space (1:12 - 2:46)

All Transfers and Mastering By Charlie Miller
charliemiller87@earthlink.net
May 8, 2020

Notes:
-- Recorded by Don Pearson and Dan Healy
-- The signal from the board was too loud and is oversaturated but still has it's moments

SOURCE 3 OF 8

Joani Walker and Paul Scotton

Transferrer:

Charlie Miller

SHNID:

gd1992-02-22.sbd.walker-scotton.miller.96395.sbeok.flac16

Source:

SBD -> Cassette Master (TDK SA-X100)

Lineage:

Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Samplitude Professional v10.1 -> r8brain PRO v1.5 -> FLAC/16

Taper Notes:

View NotesPatch Info:
(FOB) B K 4011 -> Dat (shnid=77722) supplies:
Queen Jane Approximately (post song tuning)
Loose Lucy (0:00 - 0:05)
(FOB) Schoeps CMC3.MK4 -> Dat (shnid=77722) supplies:
Space (1:10 - 2:46)

Notes:
-- Set 2 is seamless
-- Thanks to Joani Walker and Paul Scotton for the Cassettes

SOURCE 4 OF 8

gd92-02-22.sbd.gardner.9981.sbeok.shnf

Source:

SBD>MC>C>DAT>CDR

Taper Notes:

View NotesSBD>MC>C>DAT>CDR; via Paul; Seeded to etree bt Tony G

SOURCE 5 OF 8

SIRMick and Charlie Miller

SHNID:

gd1992-02-22.138245.schoeps-cmc4-mk21.gastwirt.miller.sirmick.sbeok.flac16

Source:

<b>flac16/48kHz</b>; Source: Audience recording > Schoeps cmc4 mk21 > Oade modified Panasonic SV-255 > Dat (48k); Fob recording by Rick Gastwirt;

Lineage:

Dat > Sony PCM-R500 > Sound Devices 744T > wav 16/48; Transfer by Charlie Miller; Lineage: wav 16/48 > iZotope RX6 Advanced > iZotope Ozone 5 Advanced > CD Wave > TLH > Flac 16/48; edited and mastered SIRMick May 2017

Taper Notes:

View Notesedited and mastered
SIRMick
May 2017

SOURCE 6 OF 8

2:45:32

Taper:

Master Digital FOB Recording & Transfer by Marcus Buick

Transferrer:

Edited & Mastered using Adobe Audition by Joe Noel June 28, 2020

SHNID:

gd1992-02-22.150344.FOB.Schoeps.Buick.Noel.t-1648

Source:

Schoeps MK4 CMC3mod (ORTF, FOB)> MIT shotgun XLR > TAO/Oadie > MIT shotgun XLR > Panasonic SV250mod > Master DAT (16bit48kHz) on-stand (6Õ2Ó)

Lineage:

Transfer: Master DAT > Panasonic SV3800 > S/PDIF(16bit48kHz) > Edirol-R4 > WAV 48/16

Taper Notes:

View NotesProduction Note from Marcus;

The first show of the 1992 year was again at the Coliseum Arena; This was the 9th show in 5 months, at the same venue, in the Bay Area, with 2 more over the next 2 evenings.

We must have been feeling brazen (or had a tall dude in our crew) because standing at 5Õ10Ó the mics would have been 4Ó above my head this evening, and while we push the boundaries, we arenÕt fools.  Someone tall was blocking the mics from the view of the soundboard; John Ammons is tall and he may have been our blocker.

The Master tapes indicate both sets were run at 6Õ2Ó which is about as high as we would ever run stands FOB.  An interesting thing I noticed on the first night is an overly ambitious snare drum slap-back.  This may be due to the microphone height, the timing delay to the rear PA, or a combination of the two.  The mics were definitely picking up odd hall acoustics.  I didnÕt notice this any other night or on any other tape.

This show is significant in that two songs were played for the first time; So Many Roads & Wave to the Wind, a Jerry song and a Phil song, respectively.

No technical issues.  A fine capture of a significant event.

Recording, Transfer, and Production Notes by Marcus Buick

Additional Notes;
- Thanks to Marcus Buick for sharing this recording
- Thanks to John Ammons for coordinating this
- Thanks to Pete Oshman for the use of the SV3800
- this is an upgrade to shnid 77722 (Set II)
* 1st performance
- The mics were removed from the stand during Sugar Mags as busts started going down around taper
- Before encore, taper moved mics closer to the stage; continued hand-held operation due to ongoing FOB taper crackdowns

SOURCE 7 OF 8

gd1992-02-22.117851.BeyerM160.d5scott.flac16

Source:

Source: 2 Beyer M160 microphones - up front/center > 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 8 OF 8

2:44:53

Taper:

Jamie Young and Marcus

Transferrer:

Michael Hughey

SHNID:

gd1992-02-22.fob.young-marcus.gems.77722.sbeok.flac16

Source:

Set 1: B&K 4011 (ORTF) Hand Held -> Canare Cable -> Neumann Supply -> Modified Sony D10 Pro, Set 2: Schoeps CMC34 -> Panasonic sv250

Lineage:

DAT > TASCAM DA-20 > M-Audio Audiophile 192 > Soundforge 8.0 wav > Adobe Audition (48K to 44.1K resample, 1-bit, w/dither) > CDwav (tracking only) > FLAC frontend

Taper Notes:

View Notes- Balanced levels of two mic sources. Set 1 (+1 dB), Set 2 (-1 dB)
- d1t02- Bertha- 00:38-01:40 - smoothed level adjustments w/ 4dB reverse fade in
minor transfer artifacts (clicks,pops) manually removed in SF8 pencil tool or Adobe Audition
- Remediated numerous mic bumps from the Sugar Magnolia>US Blues segment when tapers were getting busted/breaking down
- Several instances of clipping relieved during US Blues as tapers relocated
- No compression, Noise Reduction or EQ
- verbose edit details in separate file