This is mostly what I wrote for the non-matrix already; however the mix is pretty awesome, a word I try not to over use. But the bass is really strong even on my tiny Philips headphones! I don't know why unless it's a real (what do I mean by real, well some folks thought that when using a reel it would make much difference, yes not quite as much the obviously smaller cassette tape format, so given that and in particular here (forgive me for my ignorance in this regard) just what the hell in the lineage does "Rm" stand for Reel master perhaps, thus if so making the "Reel" an additional copy generation) tape trade generation that unfortunately those that posted this unavoidablely, they couldn't get past i.e. any closer to the original? Meaning I never could figure out why you soundboard & other sophisticates (regardless of copy generation #) don't play back on the deck(s) the recording your copying/transferring (to digital) was made (unless of course, that original machine is long since been defunct, like my J.V.C. has nearly died more than once (especially after it dropped to the floor as the strap holding it around my neck broke later on in February from this show when Keith & Donna last appeared up in Oakland, just as they launched back into the end of "Playin' in the Band), and although it hasn't been used in many years I've always keep it for serious transfers, since (super A.N.R.S. notwithstanding) speaking of bass, S/N and so on; my master's just, in non-technical terms, ain't the punch when played back on something else)? Not so much here in this case, but for instance I used to know folks who even though their D5 on which they made some master was in fine condition, they'd copy it by playing it back on a Nakamichi? Well yes indeed, Nakamichis were excellent home machines yet, adjustable azimuth or not, it still ain't the machine that produced the recording one is copying!
Firstly, who is "Clive" that Weir substitutes for "life" Jack Straw? Bob Weir is referring to Clive Davis the head of Arista Records with whom they had recently signed a contract with for the "Terrapin Station" & "Shakedown Street" albums. He was apparently in attendance here, but supposedly complained that they didn't play "any new" or was it "many" tunes! Oh, contraire, indeed they played five tunes from the "Shakedown Street" album alone and one from the Terrapin Station album!
It certainly isn't the only time I've heard Weir say the following in "Mexicali Blues" but not often "Everybody Polka" since the rhythm of that song is in a polka style. Check out the way Jerry really powerfully instrumental especially the final C chord of (as I am at this moment feeling the chills all over not just in my spine as I listen again now) definitely the greatest version I ever heard "Tennessee Jed". Absolutely unique, I never elsewhere quite heard him grab that chord like he does here!
This is the only time I ever saw "St. Stephen" (Even, though I did see the live T.v. broadcast of the next night)! Despite my obvious apparent bias for this one here I'm convinced it is relatively, if not absolutely unique, if for no other reason than the fact that Garcia uses the envelope filter, yet not the only time as well as save perhaps the next day at Winterland but still fairly rare; however even more importantly unique to this one here comes in the instrumental jam part where unusually in the fact Garcia plays the progression in the opposite direction in terms of ascending verses descending, unlike every other I can recall! Why and how do I know this to be the case, over, above and beyond having simply been fortunate enough to have listened to it from right away after the amazing performance? (see below). And besides, if that ain't enough, this was by far the very best ever performance of "Olin Arrageed" with Hamza El-Din. Superior even than any of the ones at Winterland, and even more so than the rather future dull performances! This monumental performance is not only well over 3 hours in with this 12 song 1st set (one of the three longest I ever saw) was tough to record without any cuts!. Mine was not perfect, although I got all the way through to the end, with Mathew Kelly on Harmonica etc., unlike even this here soundboard (not counting its patches) which ends all together going to another audience recording somewhere in "St. Stephen". For the encore, since the show was so long, I was forced to use a lesser quality grade of tape (see below), rather than all before on Maxell XLSII. And the encore "One More Saturday Night" isn't the best I've ever heard but it still it cooked!
I was recording from well in front of the board; I do recall I was ~10-20 feet in front of that a guy with the Nagra! I still remember it in color from having been looking at them through my binoculars, with my elbows each steadily planted on either side of my recorder strapped around my neck, with my microphones strapped one to each side of binoculars. (My J.V.C. KD2 (which I bought in the middle of the Winterland shows in October), with super ANRS noise reduction which alone is far better than Dolby B and at least comparable with but not compatible with Dolby C) I vigorously contend is better than the important to note still not yet been released for another =/< 4 months well known future as a common standard machine, namely the Sony D5 and later still, D5M. This is despite in being somewhat bigger in size giving it besides the results themselves which obviously are most important, in its use better metering in terms both of sight and control as an analogy but not exactly the same relational difference for example, the differences in readout/control (smooth or the lack there of) between the D6 vs. the D5 metering. Which turned out great!
Oh well, I hope who took my recording away from me several years later eventually came to appreciate what he had obtained, but I have strong doubts of that and suspect it may have been erased or trashed, boo-hoo! Regardless, of what was my great fortune for a while that turned rotten, I can assure you that this is highly recommended!

Augy

San Diego