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Poster: | dead-head_Monte | Date: | Jun 30, 2009 10:06am |
Forum: | GratefulDead | Subject: | a few more early Taper tid-bits and factoids |
The Grateful Dead's prototype wall of sound era had begun. By mid-1973 they were on a roll. The sound they got in RFK Stadium on 6-9 & 6-10-73 was EPIC. The fact that the Allman Bros shared the stage there added to the magnitude of this venue. Over 100,000 people showed up for both days. So I have since called this a momentous Modal Spectacle -- because of the amazing Sound they got there. And there was the Jam on Sunday night June 10.
Simply put, the Sound was so fucking incredible at RFK, Bill's tapes and my tapes sound virtually indistinguishable. Go figure. That's how good the Sound was. It didn't matter what you taped with, as long as you were FOB.
Then it turns out that Bill Gadsden came across the Buddy Miller tapes. A friend of Buddy's was the guy who worked with the sound crew at Fillmore East. This is the guy who was hip to the hole drilled in the wall there by April, 1971. He ran a secret SBD patch through it. The patch ran through the hole in the wall which was behind the SBD. The hole entered into a broom closet. Buddy was recording with a stealth reel-to-reel inside the broom closet April 26, 27, 28, 29, 1971. Including April 25, this 5-night run is best known for The Vault commercial release, "Ladies and Gentleman, The Grateful Dead." Thanks to help from Bill Gadsden, the stealth SBDs are circulating today. Funny, I had copies of these tapes in 1972. They circulated out of Princeton, NJ area. I never knew and never met Bill Gadsden. Then I d/l the lossless files from the archives on GD Live dot com 30 months ago. They are since long-gone. Bill tells the Buddy MIller taper story. We always hear about Duane Allman sitting in and Beach Boys sitting in during this run. Often unmentioned in this historic run is the fact that NRPS opened all 5 nights with Jer playing pedal steel.
Another early Taper factoid came out after Jerry Moore's passing a few weeks ago. Lossless Legs was seeding, and Rob Berger was transferring most all of Jerry's tape collection to celebrate his life. It is only then that we learned that Jerry Moore's first know recording that circulated was Old And In The Way, June 8, 1973, at the 8th annual Bluegrass Festival in Warrenton, VA. Here's the post on LL.
My 1st time taping was the next day, GD at RFK Stadium, June 9, 1973. I never knew Jerry Moore. But Jerry and I were both independently taping FOB at Roosevelt Stadium on July 31, 1973. I met Jerry Moore and Rob Berger on LL several months ago. We chatted briefly about early Taping events and gear.
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Poster: | fenario80 | Date: | Jun 30, 2009 10:23am |
Forum: | GratefulDead | Subject: | Re: a few more early Taper tid-bits and factoids |
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Poster: | dead-head_Monte | Date: | Jun 30, 2009 11:33am |
Forum: | GratefulDead | Subject: | Re: a few more early Taper tid-bits and factoids |
AUD.fob mic used for June 9 & 10, 1973 GD at RFK Stadium - hand-held on mic-stand shart w/ arm raised high
Sony ECM-99 single-point stereo mic (2-channel, no matrix -- I think it was an X-configuration)
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Poster: | Arbuthnot | Date: | Jun 30, 2009 3:41pm |
Forum: | GratefulDead | Subject: | Re: a few more early Taper tid-bits and factoids |
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Poster: | dead-head_Monte | Date: | Jun 30, 2009 6:15pm |
Forum: | GratefulDead | Subject: | Re: a few more early Taper tid-bits and factoids |
My remastering had a few flaws in it -- newbie errors. Kevin Tobin -- Brokedown House Production -- fixed my flaws, and did a new composite AUD remaster. He used my AUD, Bill's AUD, and the SBD for patches. Kevin's AUD remaster is professional. Afterwords, Kevin went back and pitch-corrected the SBD, also a Charlie Miller gem, for June 10. Since my AUD's pitch was matched correctly with Bill's AUD, the audiophiles decided it was the SBD that was off. Lastly, Kevin Tobin then belted out a MTX master and a DTS 5.1 master for this date. Unfortunately, the MTX suffers a few phasing problems w/ brief synch losses in places on a few tracks. Kevin's composite AUD is a snappy rendering by a professional masterer for this show. I think this sound sets the bar for ear candy remarkably well for the GD sound in 1973. Some people tend to confuse this show with being the best GD playing of 1973. I seriously doubt that. But it's surely in the running for one of the best shows of 1973, and for best Sound they ever got in 1973. I'm still haunted by this.
Thanks for asking, and for caring.