Source #	156611
Entered by	Matt Vernon
Checksums	gd1986-05-11.nakomni.flac24.ffp.ffp , gd1986-05-11.nakomni.flac24.md5
Disc Counts	0 / 0
Media Size
Date Circulated Date Added	05/02/2022

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Other Sources

• (2317) AUD> Beyer Dynamic M88's> D5 (CM)> Nak MR2...
• (8115) SBD>MC>DAT>CDR (Additional Cass generations?);...
• (26557)  flac16 ; SBD > MC > C > DAT > CD > EAC > FLAC;...
• (81626)  flac16 ; Recording Info: SBD -> Cassette...
• (120512)  flac24 ; Master Audience Recorded By Mr....
• (120513)  flac16 ; Master Audience Recorded By Mr....
• (135048)  flac24 ; lineage: schoeps cmc 44 fob>  tcd-d5>...
• (140257)  flac16 ; Source Info: (FOB) Schoeps CMC4/MK41...
• (156610)  flac1644  1GEN AUDCA speed corrected 2.25%...

Source Summary
flac2448 1GEN AUDCA speed corrected 2.25% usig Audacity Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay > Recorder: Sony TC-D5M no NR Maxell MX90 Location: OTS- ~150 feet from stage spread 20 feet apart Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90 Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661 Recorded by: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig Transferred & Processed by Kyle Holbrook

Grateful Dead
Date 1986-05-11
Frost Amphitheatre
Palo Alto CA

Set 1
d1t01 - tuning
d1t02 - Gimme Some Lovin' >     **##
d1t03 - Dancin' In The Streets
d1t04 - Good Time Blues
d1t05 - Iko Iko                 &
d1t06 - My Brother Esau
d1t07 - It Must Have Been The Roses
d1t08 - equipment break
d1t09 - Cassidy >
d1t10 - Might As Well

Set 2
d2t01 - Samson & Delilah >
d2t02 - Crazy Fingers >
d2t03 - He's Gone >
d2t04 - Smokestack Lightning >
d2t05 - Drums >
d2t06 - Space >
d2t07 - The Other One >
d2t08 - Comes A Time >
d2t09 - Around & Around >
d2t10 - Not Fade Away
d2t11 - encore break
d2t12 - encore1 I Need A Miracle >
d2t13 - encore2  U.S. Blues

    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     2:14.027      38599724 B   cxx   --   ---xx   flac  0.6894  gd1986-05-11nakomnis-poris-daviss1t01.flac
     4:52.747      84311084 B   cxx   --   ---xx   flac  0.3754  gd1986-05-11nakomnis-poris-daviss1t02.flac
     8:45.000     151200044 B   cxx   --   ---xx   flac  0.7294  gd1986-05-11nakomnis-poris-daviss1t03.flac
     6:57.360     120199724 B   cxx   --   ---xx   flac  0.7217  gd1986-05-11nakomnis-poris-daviss1t04.flac
     8:05.000     139680044 B   cxx   --   ---xx   flac  0.7219  gd1986-05-11nakomnis-poris-daviss1t05.flac
     5:01.413      86807084 B   cxx   --   ---xx   flac  0.7308  gd1986-05-11nakomnis-poris-daviss1t06.flac
     5:41.453      98338604 B   cxx   --   ---xx   flac  0.7201  gd1986-05-11nakomnis-poris-daviss1t07.flac
     1:31.973      26488364 B   cxx   --   ---xx   flac  0.6765  gd1986-05-11nakomnis-poris-daviss1t08.flac
     5:45.947      99632684 B   cxx   --   ---xx   flac  0.7306  gd1986-05-11nakomnis-poris-daviss1t09.flac
     4:26.310      76697450 B   cxx   --   ---xx   flac  0.7416  gd1986-05-11nakomnis-poris-daviss1t10.flac
     8:15.680     142755884 B   cxx   --   ---xx   flac  0.7324  gd1986-05-11nakomnis-poris-daviss2t01.flac
     8:26.253     145801004 B   cxx   --   ---xx   flac  0.7220  gd1986-05-11nakomnis-poris-daviss2t02.flac
    11:37.973     201016364 B   cxx   --   ---xx   flac  0.7223  gd1986-05-11nakomnis-poris-daviss2t03.flac
     5:08.533      88857644 B   cxx   --   ---xx   flac  0.7195  gd1986-05-11nakomnis-poris-daviss2t04.flac
    14:50.360     256423724 B   cxx   --   ---xx   flac  0.7100  gd1986-05-11nakomnis-poris-daviss2t05.flac
     5:03.693      87463724 B   cxx   --   ---xx   flac  0.7126  gd1986-05-11nakomnis-poris-daviss2t06.flac
     5:59.613     103568684 B   cxx   --   ---xx   flac  0.7363  gd1986-05-11nakomnis-poris-daviss2t07.flac
     6:53.400     119059244 B   cxx   --   ---xx   flac  0.7147  gd1986-05-11nakomnis-poris-daviss2t08.flac
     4:01.907      69669164 B   cxx   --   ---xx   flac  0.7363  gd1986-05-11nakomnis-poris-daviss2t09.flac
     8:32.707     147659564 B   cxx   --   ---xx   flac  0.7284  gd1986-05-11nakomnis-poris-daviss2t10.flac
     3:43.107      64254764 B   cxx   --   ---xx   flac  0.7077  gd1986-05-11nakomnis-poris-daviss2t11.flac
     3:06.827      53806124 B   cxx   --   ---xx   flac  0.7444  gd1986-05-11nakomnis-poris-daviss2t12.flac
     5:35.480      96618236 B   cxx   --   ---xx   flac  0.7464  gd1986-05-11nakomnis-poris-daviss2t13.flac
   144:36.764    2498908930 B                            0.7120  (23 files)


Recording information:
** missed start
## The entire first track had technical difficulties in the Right channel so I patched the left and made it mono.
&  half way through a loud PA crackle occurs
1GEN AUDCA speed corrected 2.25% usig Audacity
Microphones: Jaime Poris custom mics: Nakamichi capsules customized, attached to plexiglass plates spread 20 feet apart > dbx 224|customized > Dolby decode side of patch bay >
Recorder: Sony TC-D5M no NR Maxell MX90
Location: OTS- ~150 feet from stage spread 20 feet apart
Original transfer: Sony TC-D5M > Sony TC-D5M Maxell MX90
Digital transfer: Nakamichi CR-5A > Benchmark Sonic AD2k @24/48 > Marantz PMD-661
Recorded by: Executive Crew, Mike Davis, Kenny Davis, John Hance, Aaron; patched out of Poris/Olness rig
Transferred & Processed by Kyle Holbrook
==============================================================================
the story:
As I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields.

The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps.  This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear.

For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC