Grateful Dead 10/26/80 <b>Updated Source</b>; SBD > MR > C (no dolby) > DAT > CD > EAC > SHN; was marked: SBD > MR > DAT > CD > EAC

Grateful Dead 10/26/80
Radio City Music Hall, New York, NY

Comments

Add Comment

Source Collectors

Add to Collection

Add to Want List

History

Source #	18862
Entered by	dr.unclear
Checksums	shn-md5 , st5
Disc Counts	2 / 3
Media Size
Date Circulated Date Added	08/12/2003 08/13/2003

Download Text | Download Zip

Other Sources

Source Summary
Updated Source; SBD > MR > C (no dolby) > DAT > CD > EAC > SHN; was marked: SBD > MR > DAT > CD > EAC > SHN; EAC/SHN by Darryl Hinko

            Grateful Dead

10-26-80 (Sun)

Radio City Music Hall

New York, NY

Source: Just was told that the lineage should be:

SBD > MR > C (no dolby) > DAT > CD > EAC > SHN 

Disc 1

   Acoustic: 

01. Iko Iko                      (06:45.44)

02. Dark Hollow                  (04:42.02)

03. It Must Have Been the Roses  (07:13.09)

04. On The Road Again            (04:14.34)

05. Jack A Roe                   (05:45.17)

06. Cassidy                      (05:51.48)

07. China Doll >                 (05:47.07)

08. Ripple                       (04:56.26)

   Electric-1: 

09. Jack Straw >                 (06:15.27)

10. Sugaree                      (09:42.74)

11. Little Red Rooster           (09:22.71)

12. Brown Eyed Women             (06:35.47)

Disc 2

01. Let It Grow >                (09:54.05)

02. Don't Ease Me In             (03:25.00)

   Electric-2: 

03. /Jam >                       (01:03.57)

04. Samson and Delilah           (07:44.15)

05. Althea                       (09:32.04)

06. Estimated Prophet >          (10:39.72)

07. He's Gone >                  (09:15.29)

08. Jam >                        (06:03.72)

09. Drums >                      (10:09.45)

Disc 3

01. Space >                      (07:08.44)

02. Not Fade Away >              (05:08.04)

03. Stella Blue >                (11:11.33)

04. Good Lovin                   (07:49.38)

05. E: Brokedown Palace          (06:34.73)

false start for Estimated Prophet

EAC/SHN by Darryl Hinko (flyerfanatic)

Any questions contact me at: flyerfanatic2817@yahoo.com

EAC in secure mode with proper offsets used to extract

SHNtool to join and confirm sector boundries

CDwav used to split tracks

Cool Edit used for all editing

Patch for Iko Iko -

Source: CAUD >D>CD>EAC>WAV>SHN

Location: 1st row, Lowest Balcony, Center Seats

Source Recording: Sony ECM 270 Condensors > Cassette

Thanks to Torbj?rn Olofsson for getting the patch source to me.

Notes:

- First 1:20 of Iko Iko patched from AUD.  This is the only patch in

  the show.

- The Jam just before Samson and Delilah is clipped at the beginning

  only a few seconds are missing.

All discs are seemless.  In the case of set changes I left a bit of 

silence between the tracks.

Also a big thanks goes out to the guys and girls at SHN Traders for 

helping me spread these seeds around.  Mike, Jason, Michele, Teri,

Rob, Steve, Tom, Dean and the rest.

Enjoy!

SHNtool output:

 length     expanded size   cdr  WAVE  probs   filename

  6:45.44      71545532     ---   --    ---    gd1980-10-26d1t01.wav

  4:42.02      49749548     ---   --    ---    gd1980-10-26d1t02.wav

  7:13.09      76402412     ---   --    ---    gd1980-10-26d1t03.wav

  4:14.34      44885612     ---   --    ---    gd1980-10-26d1t04.wav

  5:45.17      60898028     ---   --    ---    gd1980-10-26d1t05.wav

  5:51.48      62029340     ---   --    ---    gd1980-10-26d1t06.wav

  5:47.07      61227308     ---   --    ---    gd1980-10-26d1t07.wav

  4:56.26      52275596     ---   --    ---    gd1980-10-26d1t08.wav

  6:15.27      66213548     ---   --    ---    gd1980-10-26d1t09.wav

  9:42.74     102838892     ---   --    ---    gd1980-10-26d1t10.wav

  9:22.71      99303836     ---   --    ---    gd1980-10-26d1t11.wav

  6:35.47      69788588     ---   --    ---    gd1980-10-26d1t12.wav

  9:54.05     104793404     ---   --    ---    gd1980-10-26d2t01.wav

  3:25.00      36162044     ---   --    ---    gd1980-10-26d2t02.wav

  1:03.57      11247308     ---   --    ---    gd1980-10-26d2t03.wav

  7:44.15      81884924     ---   --    ---    gd1980-10-26d2t04.wav

  9:32.04     100910252     ---   --    ---    gd1980-10-26d2t05.wav

 10:39.72     112888988     ---   --    ---    gd1980-10-26d2t06.wav

  9:15.29      97970252     ---   --    ---    gd1980-10-26d2t07.wav

  6:03.72      64202588     ---   --    ---    gd1980-10-26d2t08.wav

 10:09.45     107533484     ---   --    ---    gd1980-10-26d2t09.wav

  7:08.44      75602732     ---   --    ---    gd1980-10-26d3t01.wav

  5:08.04      54340652     ---   --    ---    gd1980-10-26d3t02.wav

 11:11.33     118442060     ---   --    ---    gd1980-10-26d3t03.wav

  7:49.38      82821020     ---   --    ---    gd1980-10-26d3t04.wav

  6:34.73      69673340     ---   --    ---    gd1980-10-26d3t05.wav

182:52.72    1935631288 B                      (totals for 26 files)

Show Checksums

shn-md5

cdb9c63a5feb2b484ffc334c3be34c5f *gd1980-10-26d1t01.shn

4f7dff0ce1712e15c6e5f50e0210437a *gd1980-10-26d1t02.shn

7194ec4ee5f3bdd21e7a4f0563b2e147 *gd1980-10-26d1t03.shn

4a67165297a26bbfe4780cf3f0ee22c0 *gd1980-10-26d1t04.shn

9a12a9d450672a576c2abc8c3e2883a7 *gd1980-10-26d1t05.shn

401b5712a742c06878d193e0635e78ae *gd1980-10-26d1t06.shn

4472118ffc522676271dbac20f82e1f9 *gd1980-10-26d1t07.shn

960f0588d4aa30058dbe92db51c43c7e *gd1980-10-26d1t08.shn

3051a10473b2ce2764751682db54ca41 *gd1980-10-26d1t09.shn

72a40da956baee00135bef62d68d8fce *gd1980-10-26d1t10.shn

31c5220064c7bf5905ef544346a244a3 *gd1980-10-26d1t11.shn

372997d665add51c7a46383c96b9d0e6 *gd1980-10-26d1t12.shn

38285c4d88bd25907a7385dec43bf226 *gd1980-10-26d2t06.shn

46e38dec5cbd587c5945cbad0dc4a08d *gd1980-10-26d2t01.shn

08a92190174a66c342bf96a6f7347b07 *gd1980-10-26d2t02.shn

cdd1dd6030d06718760ec5bbcccf4fb9 *gd1980-10-26d2t03.shn

4bd9bf8ac41ff2fdddcac8647f78776f *gd1980-10-26d2t04.shn

d278373adb9d42b87869d9ac01523261 *gd1980-10-26d2t05.shn

920068c633d4ac855b9ac9149a025a70 *gd1980-10-26d2t07.shn

38ac85a7ad6abac76f3063fd7957c702 *gd1980-10-26d2t08.shn

72938b17690f8bc0e59267d304194413 *gd1980-10-26d2t09.shn

c4f5e3f0bce3aef2bffa9174cef504f9 *gd1980-10-26d3t01.shn

1dd02c4bb59f51243fdd08d8a0cee3ba *gd1980-10-26d3t02.shn

4c6f861f502441c45f71be0a30e781f4 *gd1980-10-26d3t03.shn

6d95323c252b81cc03e4eab5c7a893e2 *gd1980-10-26d3t04.shn

e2c61d265d02e0de7ba7faf55700d55e *gd1980-10-26d3t05.shn

st5

82539796ec4cf9716128c2e27900ca61  [shntool]  gd1980-10-26d1t01.shn

70792767bbb778baa5fc1f8c6474e5ad  [shntool]  gd1980-10-26d1t02.shn

b673e4d503712665491dd12890232c10  [shntool]  gd1980-10-26d1t03.shn

e02e1b097d160d50267f63ac455762c5  [shntool]  gd1980-10-26d1t04.shn

a6b41485792e051e01e519382998fb48  [shntool]  gd1980-10-26d1t05.shn

8d2cb6e6a7e45f40eac45b3166572659  [shntool]  gd1980-10-26d1t06.shn

70f97de1b5d17adfb0b1d3548101ac51  [shntool]  gd1980-10-26d1t07.shn

e6d9d68163c706534621ac031c85e242  [shntool]  gd1980-10-26d1t08.shn

5281694af810cc401f50f605849ca730  [shntool]  gd1980-10-26d1t09.shn

d0f255ddd36986d96033dcc8045682b5  [shntool]  gd1980-10-26d1t10.shn

f56eace779551962af0ff8836e40f547  [shntool]  gd1980-10-26d1t11.shn

816e7e81394daaad2a9d9b295b8a71b0  [shntool]  gd1980-10-26d1t12.shn

866bf6626b35301f915f0d9b6fa48405  [shntool]  gd1980-10-26d2t01.shn

4f1c9c99c396b8927b720f2e5d5d60f1  [shntool]  gd1980-10-26d2t02.shn

a146a02d727f53d4b6d6a2fececfa097  [shntool]  gd1980-10-26d2t03.shn

317612017f22679ee1d13a811512d348  [shntool]  gd1980-10-26d2t04.shn

c1030802e9170e5038ad7aa5da5ea6ea  [shntool]  gd1980-10-26d2t05.shn

f71a044bdb484cd47f845b0ea152d589  [shntool]  gd1980-10-26d2t06.shn

c3ea48f6d32dfabcb24973bcb18ceb75  [shntool]  gd1980-10-26d2t07.shn

4163c0c4b0233941e130fda517745c61  [shntool]  gd1980-10-26d2t08.shn

7dbfad0e8ff45959108220a75c6effc6  [shntool]  gd1980-10-26d2t09.shn

1859590e2d943c0192a38c24b9efb055  [shntool]  gd1980-10-26d3t01.shn

ce60bea57ec4fadb0bc36e0c4951e7a6  [shntool]  gd1980-10-26d3t02.shn

9d8007c09e9d857601fd524a35d028a9  [shntool]  gd1980-10-26d3t03.shn

37369ec4e33cb9760942a2fac0b40685  [shntool]  gd1980-10-26d3t04.shn

9a724fdcbcd2075755131402f6c96ae0  [shntool]  gd1980-10-26d3t05.shn

Comments

Add Comment

Date	User	Comment
Other Sources (comments) Updated lineage: Recording... (1) Source: CAUD... (0) PLEASE NOTE: This is a... (0) flac16 ; Recording Info:... (0) flac16 ; Matrix by Hunter... (0) flac16 ; AUD: 2x Nakamichi... (0) flac16 ; Loge Dead front... (0) flac24 ; Mixes of It Must... (0) flac1644 Mixes of It... (0)
08/21/2003	Mike Leatzow	Are the r and l channels reversed? Seems to me Brent should be coming out of my right speaker?! Was there any period of time Brent played that he was not to the right of Jerry? Anyone that knows for sure please send me an e-mail. Thanks! Mike
09/25/2003	Mark Goldey	I wasn't paying attention to the stereo image of the recording, but it is a nice, tight SBD and I really like the overall sound quality.
09/25/2003	Brian B.	See,now I think this is a subjective opinion.Do you REALLY expect the sound coming out of your speakers to reflect where they're set up on stage?
09/25/2003	Zeb	even when Jerry was on the right side of the stage (starting in April 1982), Brent was still to his right...
09/25/2003	mcole	Also, sometimes SBD recordings are captured from the band's perspective; stage left to the band is right to the audience.
09/26/2003	pscotton	That would be stage monitors not the SBD.
09/26/2003	BuD	Unless its a "Monitor mix", What are you supposed to do when you listen to it ... aim your speakers away from you? Actually, I remember being at many shows where there was a conclusive stereo sound coming from the stage, but it wasn't always with the arrangement of the band members on stage. Of course, on stage, the band would have their own arrangment of speakers and monitors so they could hear themselves and the others. A normal soundboard tape should capture what the audience heard, as the board collects the bands instruments, mixes it, adds whatever else is needed, then sends that signal out to the speakers around the stage aimed out at the audience (as well as the onstage monitors, which are mixed different then the audience speakers). An example of a "Monitor mix" would be one version of the 12-31-1981 Grateful Dead show where they recorded a "dry" mix of the show for later analyses by the band members!
09/26/2003	Zeb	Wouldn't a normal soundboard tape capture what you would hear if you were standing onstage behind Mickey and Billy, not what you'd hear if you were in the audience...?
09/27/2003	pscotton	What Harry produced for the individual band members was not necessarily complete sound. It was what each member wanted to hear and each monitor was unique. Furthermore, the montiors weren't stereo. (Remember, when they went to earphones, they wore a single phone.) And yes, the reference point is the sound in the hall not on stage (which could be dramatically different depending on where you stood.) I have attached some ruminations about all this from a more knowledgeable source which explain in more detail the above summary. "Yes, Harry was (is??) the monitor mixer, up on stage-right's corner where they could see each other easily. I think each of them could motion to him to tweak something if they couldn't hear well enough, or hear the right thing. Yes, each monitor is unique, and I never heard of any one monitor being stereo, except consider these divergent things: "Different for each member is what he needs to stay aligned: Does Weir need to keep the beat, or be sure his guitar's in tune, or even his singing? Those all might be different on different nights, too. (Actually, with the drums right behind him, his keeping the beat easily is presumed - but if he'd not been almost enveloped in drums, he might have needed drums in the mix in order to know exactly where in the music he was. Brent, being farther from the drums, had mucho drums in his monitors.) Weir, with his own voice, might want to hear Brent's voice to keep his singing true, and enough Jerry guitar to play against. Phil made enough thunder-rumbling for everyone to know where HE was - again, probably except for Brent. Phil, with his own speakers blasting him, might need to hear a little of everyone........... or perhaps if he only knew where Jerry was musically, he could assume everyone else was in place with Jerry - and of course, he had the drums by him, as well. I'm kinda speculating here. (Out of the corner of Phil's eye, he was probably aware of where Weir was by his arm movements.) The drummers could see body cues better than anyone else, and might not have needed much besides their own selves. "When they did their stage rotations like back in the 70's mostly, I guess they completely started from scratch! Likewise when the ear-monitors came around, everything got re-calculated, with the ear canal now obstructed from more 'natural' hearing. Also a singer HAS to hear himself sing - another variable with the ear-thingies. "Everyone had a different need to hear different cues. As to actual singing, I don't know what they'd all have been. My only guess would be, as I mentioned, that Brent could help them all stay in tune, and mayyyyyyyyybe Weir's harmony notes would be helpful to Jerry, or vice versa. Poor Donna. I imagine she was fucked six ways from Sunday every time she got up there with that crew. Harmonically, of course. Remember her fingers in her ears? Oh - I mean - one finger in one ear, to hear her own voice louder. I can imagine the rest of them did not need her in THEIR mixes. "The blurb refers to the presumptive stereo sound from onstage. The sound of Weir's guitar might be coming from his stack (in stage center), and off to the right (as the writer below viewed the stage), from Jerry's monitor........ or Phil might be coming from Brent's monitors as well as Phil's side of the stage, all simulating something stereo-ish. (FUNNY: I just put on your 8-26-71, was partway into Bertha when I typed Brent's name and did a whoosh-warp-does-not-compute thing as if I'd stepped out into open space somewhere. Time tripping is soooooo taxing, don't you find? Remember Billy Pilgrim and Montana Wildhack in Schlachthaus F?nf?) "Now to Harry (again I speculate a bit): I think there were channels for each instrument and voice, maybe some few channels for all the drums? This was a small board - ask Menke - maybe 24 channels? While he's mixing a little Brent-voice-Jerry-guitar into Phil's monitor, it might be mixing down into one channel on his board, and while drums-Phil-Weir-voice is going into Brent's monitor, that mix is another channel. I've never been very clear then, on what 'monitor mix' tapes were, exactly, at least to Deadheads; obviously they'd have been useful for singers in the band to learn from - how my voice sounds better when I have this other voice to bounce off of, yada yada....... Lyd and I used to wonder what happened to Harry's tapes, if there were any that got out, and what they sounded like, and if we were really interested.... "As to 'that sound' in 12-31-81, someone would have to convince me. I think the amount of the show that has that flat, dry sound was just a mistake - it's in MY tapes, and I know where I was that night, and it wasn't by Harry! It may not have even been a mistake....... but I'm pretty sure that whatever is referenced below, is indeed Dan's own soundboard. Do you have different versions of this show now, to put this idea forward - or do you know if it's a prevalent belief that that 12-31-81 is a Harry mix, because of 'that sound'??? I remember the mikes suspended from the ceiling, in an attempt to capture some of the M-S matrix, and I remember one o' them biiiiiiiig balloons hitting the mikes and knocking them off-kilter. Could that have been the 30th? and they might not have been rearranged and re-calibrated by the next night. I really don't remember what night it was. Perhaps the mike feed, and/or whatever effects like reverb and echo, the warm part of sound/music, just got disconnected and 'that sound' happened - all totally by mistake......... no one would have known til later, since there were no 3-head decks or monitoring of ANY sort going on! (I've always been partial to the idea that the shwooshy-rocket-takeoff noise at midnight made the board get its settings all weird and they just never got fixed - but don't I also recall that the Joan Baez set had that same quality to it, flat, and dry?"
09/27/2003	BuD	Thats easy to explain. Sure, each monitor on stage would have a different mix ... but they all came from ONE source, which branched out from the monitor mixer. The feed into the monitor mixers board would come from the main soundboard (It helped to keep this signal dry of any added reverb, echo or whatever was added to the audience speakers). So the dry monitor mix could be recorded AT the soundboard .. not necessarily on stage right. But regardless the recorded signal would be the same, and it would differ from the audience speakers signal.
09/27/2003	pscotton	If your theory is that Dan taped a different "monitor mix" at the SBD, especially one where he reversed the channels, I can tell you that it didn't happen.
09/27/2003		Sorry .. I got way off the original point of this thread. I was partly responding to the "recorded from the bands perspective" comment. I have plenty shows where the stereo mix coming from the left and right speakers isnt relevent to the arrangement of the band members on stage. I believe in most cases these are accurate of what was originally recorded. There is no reason to believe that the channels got swapped on this source.
09/27/2003	pscotton	And back to Mike's comment that started this thread: yes, Brent should be in the right channel (he has some presence in the left channel but he is predominantly in the right). Somewhere along the line in the version posted here the channels got swapped, if Brent is predominantly in the left channel. I suspect that it's not Caleb's source tape (Caleb's tapes are quite reliable) but I guess stranger things have happened.