Jones for his help with the pitch…. Jones for his help with…. Grateful Dead Live at Winterland Arena on Resulting SBEs were fixed and verified using shntool. Thanks to Charlie Miller…. Grateful Dead Live at Golden Hall - San Diego Community Concourse on Fix of shnid I pasted in a few seconds of tuning just before Sugaree from the AUD on archive shnid The sound quality is outstanding.
There are some fluctuations in levels in the right channel during "Me and My Uncle" and "Big River" which…. The original source has a large amount of audio level compression applied. I searched for a source without compression but was unable to find one. I checked 5 different sources,…. Grateful Dead Live at Capitol Theater on Notes:- other than maximise the levels with iZotope Ozone 4, no other audio processing has been carried out. Unfortunately both….
Grateful Dead Live at Capital Centre on Grateful Dead Live at Community War Memorial Auditorium on This 1st set tape is one or two generations "younger" than the ShnID tape, and the 2nd set tape is new to lossless circulation Sept D1t06El Paso cuts off The album is available here.
Each show features new guests, music industry discussion, and musical performances. The duo is joined by drummer Bill Vitt and bassist John Kahn, who soon became a lifelong Garcia collaborator.
Toggle navigation. Article Contributed by gratefulweb Published on Thursday, May 13, I have the GD's sound company's archives and am working direct from the master analog tapes, not an old digital transfer. It really makes the difference. I'm also a big fan of DSD transfers. Remember our bus ride to hotels for fare thee well? We took a pic of you shooting the bird and sent it to Jeff Lloyd.
I was looking in the archive comments on a show in 79, and someone said that during the break, Donna came out by herself and started to talk, but security escorted her back off. As someone with extensive knowledge of the Dead, any insight? First, thank you I've been collecting your releases for years. Thanks for your tireless work! I'd like to know what your home listening setup is like as far as equipment and speakers.
Then again, maybe you do something entirely different in your spare time, since your work is all about the tunes. Just curious as to whether you're into home audio and what you like. I play everything I'm mastering through samplitude I'm a pc guy.
Charlie, did the digital tapes of the late 80s offer a significant advantage over the analogue tapes of the 60s and 70s? Also, do you account for noise reduction technologies on the cassette sources you remaster? A few of your releases sound like they needed dolby b switched on! As for the dolby, most of joani walkers tapes were made with dolby and sound like muffled ass when played back with it.
I chose to play without most of the time. Thanks for the reply, Charlie. Just a little bit of your insights brightens up my day. Great to hear from the best! I have serious respect about those boards from Alabama on to Hartford Those imo, were the best Boards of the tour and maybe of a generation. What was the Sporatorium like? I listened to the 24 bit ala you, incredible.
The BEW from this show Not just BEW, but all tracks on this show I thank you everyday for what I am able to listen to, and everytime I wanna get up and go back there, I can because of you I think I cried the first time I heard it. I'm curious if there's a story behind that?
I was not at the show and have never been to the venue so i can't comment on that, as for the crossfades, when ever there is a cut or a tape pause I clean it up with crossfades so it doesn't have an abrupt change. Thanks for the reply! I was hypothesizing all the cuts might have been a result of chopping the master tape for the Dick's Picks 3 release. But we'll probably never know for sure.
Thank you, Mr Charlie! Your work has enriched my life. And thank you for this AMA, I've been wondering about some things for awhile. How did you get started with the Dead community and how did you fall into this role? What is the most fulfilling part of what you do?
How do you balance being true to the tapes you're handed vs fixing them up to present them as what you think is the best they can be? Which do you prioritize? Certainly you find yourself adding life to stale recordings? Taking life away from really wet ones?
What plugins do you rely on and how do you decide how much is too much? How do you feel about the masters on commercial releases in general? Do you ever encounter recordings that just aren't worth it to master? Do you ever encounter recordings that are already in pristine condition? If you were to receive a tape without being told who was at the board, would you know based on the mixing choices who was running it? Do you ever get the privilege of working with stems independently or do you exclusively work with whole mixes?
Very rarely will I EQ. I don't have access. It's kinda my technique. We were both too high to talk so we just smiled, laughed and walked away. That one always stuck with me. But my favorite was the night before my wedding, having dinner with my fiancee, my mom and donna. That was awesome. There's also the time my mom walked into bobby's dressing room in and just chatted him up while he was trying to rehearse, or my mom and donna and donna exchanging meatloaf recipes. Well first So I was wondering how to you go about selecting which shows you master, or at least what order?
Or do you just take them as they come? I would pay good money for you to team up with some tapers and compete with the Nugs monopoly! What got you interested in taping live shows and where do you see the future of audience recording going? Thanks Charlie.
Someone asked if that was tonight's show and I wanted to be able to say yes so i got a deck after the next show and taped the rest of the tour. That version opens with a wonderful Morning Dew. By all accounts, that show had no dew on the set list.
It sounds like the same room and time frame. I never did any transfers with barry. He might have taken my source and added the morning dew that was on the old cassettes.
One of the things I do when mastering the recordings I volume crossfades in samplitude's virtual editing. The virtual editing allows me to work with the graphic which is non-destructive making processes complete in a keystroke as opposed to minutes.
I can get maximum volume on each track or even section of a track instead of normalizing the whole set to a random drum hit. Hi Charlie, thanks for stopping by. My question is more a question regarding something I have heard over the years I have however never been on the taping section.
Is actually something most tapers look at as a one man or a solitary thing. Even to the point where people can get nasty with each other.
Have you experienced first hand any in- fighting among the taping community. Can you shed some light on why or how this would be the case? I've never seen any issues between tapers.
The majority of us work together, but just like with everything else, there's always people who wanna do it on their own for whatever reason. I have a background in documentary film. When editing my films and projects, I often find that the technical side of process gets in the way of enjoying and learning from the subject matter. Do you ever get burnt out? I spend an average of 80 hours a week working on GD tapes.
Sometimes you get a recording that pushes your limits, but when push comes to shove, you're still listening to the GD, so how bad can it be?
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