Audience master recording by Joe Maloney

CDR

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DVD 37; lineage: 2nd Show. AUD > MR. Taper: Joe Maloney. MR > DAW > SDII > WAV > shn (see Info). Transfer: Jamie Salerno 5/29/2005

Joe Maloney's first stealth concert recording. (Actually, back then security did not stop him from entering w/recording equipment, so I really can't call it "stealth").
Disc 1 ends with a tracked fadeout & disc 2 begins with a tracked fade in: to join the music tracks of both discs, remove d01t11 & d02t01 track. The two "discs" will splice together.
At Joe's request, I left in the crowd reaction to the power cutoff (mostly for Morrison's reacting to the show being stopped). You can leave out d02t15 if you want.
The transition from tape 1 to tape 2 (during the intro to Mystery Train) involved a change of tape brands (Scotch 290 -> Sunset 600) & seemed to produce a drop in recording quality. Tape 2 also seems to have many gain changes as part of the recording process. Not bad for a fist attempt at recording live music, especially having to flip tape & thread a 3 in. spool of tape in the middle of a concert crowd.
Also included are Toast/Jam printouts for the CDs (so you can use the "Audio starts in Pause" timings to have a track end when the music stops and the subsequent track start when the music begins). Recorded on a 1968 RCA portable reel to reel model YLS 15B at 3 3/4 ips, using an external microphone. Original 3" reels were transferred to a Mac DAW using a Wollensak T-1500 reel to reel recorder (approx. 45 yrs old). The analog signal was first run through: a) a SAE 2800 parametric equalizer to bump the highs slightly; & b) a Phase Linear Autocorrelator to remove hiss. Lo Cut filter on Mackie 1402-VLZ used to remove hum & grunge below 75 Hz (-18 db/octive). Bias Deck used to splice tape flips & even out volume levels. Bias Peak again used to transfer SDII files to WAV files for shn compression. xACT used to fix SBEs & encode to SHNs.
This recording is the one of literally dozens of concerts recorded by Joe Maloney in the late '60s - late '70s to be released to the live recording community. The bulk of the concerts recorded were in the Boston area, with some in Maine venues.

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