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Grateful Dead 12/31/81
Oakland Auditorium Arena, Oakland, CA
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Set I
Acoustic Set: *

Land Of A Thousand Dances
Do Right Woman, Do Right Man
The Boxer
Tunisian New Year Song
Me & Bobby McGee
Bye Bye Love
Lucifer's Eyes
Children Of The Eighties
Banks Of The Ohio
Set II
Electric Set 1:

Shakedown Street
Me & My Uncle >
Mexicali Blues
Cold Rain & Snow
C.C. Rider #
It Must Have Been The Roses > *
Beat It On Down The Line *
Big Boss Man > #
New Minglewood Blues #
Don't Ease Me In *
Set III
Electric Set 2:

Ken Kesey Banter / New Years Countdown
Iko Iko #
Playing In The Band >
Terrapin Station >
Playing In The Band Reprise >
Drums >
Space >
The Other One > $
Not Fade Away > $
Goin' Down The Road Feeling Bad > $
Morning Dew

Electric Set 3
Dark Star >
Bertha >
Good Lovin'

Encore:
It's All Over Now Baby Blue *
The Chinese Joke
Comment
Bill Graham flew in on a joint at midnight

Jerry Garcia - Guitar
Bob Weir - Guitar
Brent Mydland - Keyboards
Phil Lesh - Bass
Bill Kreutzmann - Drums
Mickey Hart - Drums
Joan Baez - Vocals *
Matthew Kelly - Harmonica #
John Cipollina - Guitar $
Last Changed By System
Sources
(331) View Source    View Archive
Reels > Cass > Dat > CDR; via G. Lanum; 8/00: note tracklist now apparently corrected here from what had been listed originally; see pub comments for flaw notes.; upgrade in circulation
(7041) View Source    View Archive
electric sets; Monitor Mixer SBD > 4 TRACK RTR @ 7.5 IPS (Dolby B) > PCM > D > SSSB; via Jay Serafin to gdlive; see extensive notes in txt files
(12784) View Source    View Archive
Jay Ashley (Bertha) remaster of Jay Serafin's 4 TRACK RTR source; SBD> MR> PCM> DAT> CDR> SHN> DAW(Bertha)> CDA; Note- Joan Baez set missing
(14040) View Source    View Archive
Acoustic set only (w/ Joan Baez); SBD > MR > CASS > DAT > CDR > EAC > SHN via Chris Warren; upgrade in circulation
(14686) View Source    View Archive
Master reels->cass->DAT->CD-R->EAC(x2 w/wav compare)->shn. ; upgrade in circulation
(33660) View Source    View Archive
flac16; SBD> Cassette Master (Dolby B)> Sonic 24bit> SBM2> CD> EAC> FLAC; Transferred and Mastered By David Gans; FLAC By Charlie Miller
(85628) View Source    View Archive
flac16; Recording by Matt Field. Source: FOB Nak 100's > D-5 > D-5 > Maxell UDXL I cassettes. Transfer and Mastering: Cassette (1st Gen) playback on Nakamichi CR-7A, azimuth adjusted, no Dolby > Grace Lunatec V3, sample rate at 96 KHz > AES digital connection > LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8). Recording, editing and mastering with Wavelab 5.0. Transfer and mastering by Chris L.
(96082) View Source    View Archive
flac16; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90); Transfer Info:Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller; Upgrade in circulation
(96090) View Source    View Archive
flac24; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90); Transfer Info: Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24; All Transfers and Mastering By Charlie Miller; Upgrade in circulation
(96106) View Source    View Archive
flac16; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90) Transfer Info: Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/16; All Transfers and Mastering By Charlie Miller (This has fixed levels on d3t02, d3t03 and d3t04 of the previous source.)
(96107) View Source    View Archive
flac24; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90) Transfer Info: Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24; All Transfers and Mastering By Charlie Miller (This has fixed levels on d3t02, d3t03 and d3t04 of the previous source.)
(96611) View Source    View Archive
flac16; Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither.
(126611) View Source    View Archive
flac16; Matrix 3 Source Mix - SBD (shnid=96107) flac24; Recording Info: SBD -> Cassette Master (Nakamichi 550/Maxell UDXLII-S90) Transfer Info: Cassette Master (Nakamichi DR-1) -> Sound Devices 744T (24bit/96k) -> Adobe Audition v1.5 -> Samplitude Professional v10.1 -> FLAC/24; All Transfers and Mastering By Charlie Miller + AUD (shn id 96611) Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. + VID (no shn id) low generation video found on the internet for a video project - matrix mixing by Kevin Tobin
(143570) View Source    View Archive
flac16/48kHz; Source Info: Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B) (TDK MA-R C90); Transfer Info: Master Cassettes (Dolby B) (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496; 24-bit > 16-bit via dBpoweramp
(143571) View Source    View Archive
flac24; Source Info: Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B) (TDK MA-R C90); Transfer Info: Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496
(143773) View Source    View Archive
flac16; Patched & Pitch Corrected Audience - AUD (original shnid = 96611) Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. - pitch correction and patches by Kevin Tobin
(143774) View Source    View Archive
flac16; Matrix 2 Source Mix - SBD (shnid = 143571) Source Info: Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B) (TDK MA-R C90); Transfer Info: Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496 + AUD (shnid = 096611) Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. - matrix mixing by Kevin Tobin
(143775) View Source    View Archive
DTS-Audio-CD 5.1 Mix; - SBD (shnid = 143571) Source Info: Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B) (TDK MA-R C90); Transfer Info: Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496 + AUD (shnid = 096611) Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. - dts mixing by Kevin Tobin
(143777) View Source    View Archive
flac16/48kHz; 5.1 LPCM Surround Sound (48k) - SBD (shnid = 143571) Source Info: Dan Healy's Master Soundboard Cassettes > Sony D5M (Dolby B) (TDK MA-R C90); Transfer Info: Master Cassettes (Dolby B)(Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp 2496 > Adobe Audition 3.01 > TLH flac2496 + AUD (shnid = 096611) Lineage: Nak 700's - 3 mic mix (L & R Cardoids 6 db EQ, center Omni. 35' from stage) > Mixer > Sony TC-D5 > MAC (Maxell MX 90's) > Nakamichi ZX-7 > Tascam HD-P2 > 24/96 Wave > Editing and Mastering: Jamie Waddell on the GEMS Edit Station. Weiss Saracon for 16 BIT – 44.1kHz SRC and POWR-3 Dither. - surround mixing by Kevin Tobin
(156058) View Source    View Archive
flac1648 Source Info: Jim Voss's Master FOB Audience Cassettes: Sennheiser 421 mics (14th row)> Sony D5 Transfer Info: Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496
(156059) View Source    View Archive
flac2496 Source Info: Jim Voss's Master FOB Audience Cassettes: Sennheiser 421 mics (14th row)> Sony D5 Transfer Info: Master Cassettes (Nakamichi CR-7A)> Tascam DA-3000 (24-bit/96k) > Adobe Audition CC 2021 > TLH flac2496
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Ray Augustine The best New Year's ever at least that I saw, ie. all after Winterland' closing which I saw on TV that night and saw all the three shows in San Diego and UCLA before, which I thought weere ever better than Winterland as my recordings atest to ! This show contrary to common knowledge, was not an entirly acoustic 1st set with Joan Baez, Weir played acoustic on a few numbers like Bobby McGee for example. I have alot of stories about this one in reference to how I got my backstage pass (only time besides 10 years later) and Dark Star (my 1st of 5 1/2) and Weir's surprise at seeing me up front after just seeing me backstage (I was certainly surprised), This is also related to how if you notce during my 1st Aiko Aiko Weir says "Too many F#@%ing Baloons" True one couldn't even see the band. So in susequent years they amount of balloons diminished nicely, but sadly, so to did the intensity of the performances as compared to this one !
(We can't forget Ken Kesey's dismay that the started too early at midnight and just before that Bill Graham can't hear himself over the PA and can't quite coordinate as they had planned, it seems, with Kesey. If one listens closely this is evident !)
I also have comments, about meeting Joan, and my experience with no much Chinese horseradish vs. watching the New Riders rehearse etc., but its not appropriate here.
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