Grateful Dead

December 30, 1991
Coliseum Arena,
Oakland, CA
Sets I & II

Upgrade to shnid 105000

Recording: B&K4011 (@110-ORTF) > MIT shotgun XLR > TAO/Oadie PS > MIT shotgun XLR > Panasonic SV255 > Master DAT (BüStand)

Transfer: Master DAT > Peter Oshman’s Panasonic SV3800 > S/PDIF(16bit 48kHz) > Edirol R4 > WAV48/16; (Set 1-tape 1 transfer: 2019-07-14; Set 2-tape 2 transfer: 2019-06-11)

Master Digital FOB Recording & Transfer by Marcus Buick
Edited & Mastered by Joe Noel
April 30, 2020

Production Notes by Marcus Buick (2019-04-29)

Night 3 of 4. My 1st show was 12-30-1985, so technically, this was my sixth Deadversary! The 30th fell on a Monday night, and recovering from the weekend was occurring for some, while others were just getting ready to ramp it up for New Year’s! Any four-day run of shows in the Bay Area took a certain stamina, but New Year’s shows always took that little je ‘ne sais quoi!

Priority tickets (and the people who wait in line to get them) are required for getting ‘the spot’; most who que in line for these rarities are gunning for the rail but the most ardent tapers know that to get FOB DFC, priority tickets are an essential part of the equation. In addition to securing ‘the spot’ the recordist’s support crew are equally vital; That barrier between the mics and the unknowing public, for who taping is usually a non-consideration more than a nuisance, is a primary concern for capturing the accuracy of the music with absolute minimal distraction. Balloon pops, claps, yammerings-on, and laughing are the sounds to minimize, which only a support crew can do, once mics have been hoisted. The reason I point this out is even though I am a recordist of this event I was, in no way, alone. The amount of people that had a hand in making this recording is easily a dozen (if not two). I won’t name everyone here; They know who they are!

The main reason I got into taping the Dead was for the sonics; The accuracy of a Meyer Sound PA (in Quad) on a good night cannot be beat. I believe the Drums & amp; Space performance this evening reaches a level of dynamics uncommon in most human experiences; This recording demonstrates acoustics that can test high performance reproduction systems as well as bodily organs due to bone conduction! The performance is strong, there are no technical issues, and this is a fine capture of this event!

Additional Notes:
- Thanks to Marcus Buick for sharing his Master DAT
- Thanks to John Ammons for coordinating these efforts
- Thanks to Pete Oshman for the use of the SV3800
* w/ Airto Moreira (drums & vocals)

- set I -
d1t01 - crowd - tuning
d1t02 - Touch of Grey
d1t03 - Wang Dang Doodle
d1t04 - Row Jimmy
d1t05 - Big River ->
d1t06 - Maggie's Farm
d1t07 - Ramble on Rose
d1t08 - tuning
d1t09 - Just Like Tom Thumb's Blues
d1t10 - Bird Song ->
d1t11 - Promised Land

- set II -
d2t01 - crowd - tuning
d2t02 - China Cat Sunflower ->
d2t03 - I Know You Rider ->
d2t04 - Samson & Delilah
d2t05 - Ship of Fools
d2t06 - Saint of Circumstance ->
d2t07 - Dear Prudence Jam -> *
d2t08 - Drums -> *
d2t09 - Space ->
d2t10 - The Last Time ->
d2t11 - Stella Blue ->
d2t12 - Turn On Your Lovelight
d2t13 - encore break
d2t14 - The Weight

Total Run Time: 3:04:31.113

Checksum & tags created in xACT.

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[J.Noel 30 April 2020]

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