Grateful Dead Live at The Spectrum on 1985-04-08
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- Publication date
- 1985-04-08 ( check for other copies)
- Collection
- GratefulDead
- Band/Artist
- Grateful Dead
- Resource
- DeadLists Project
Set 2: Revolution, Hell In A Bucket > Touch of Grey, Estimated Prophet > Eyes Of The World > Drums > Goin' Down the Road Feeling Bad > Stella Blue > Around and Around > Lovelight
Encore: Brokedown Palace
Related Music question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
Song Title | Versions | Compilations | Covers |
---|---|---|---|
tuning | |||
In The Midnight Hour > | |||
Walkin' The Dog > | |||
Big Boss Man | |||
Me And My Uncle > | |||
Cumberland Blues > | |||
Down In The Bottom > | |||
Ain't Superstitious > | |||
Althea | |||
Tons Of Steel | |||
Supplication > | |||
Might As Well | |||
tuning | |||
Revolution | |||
Hell In A Bucket > | |||
Touch Of Grey | |||
Estimated Prophet > | |||
Eyes Of The World > | |||
Drums... | |||
Space > | |||
Goin' Down The Road > | |||
Stella Blue > | |||
Around And Around > | |||
Turn On Your Lovelight! | |||
Brokedown Palace |
Notes
Great sound!!!
The first few seconds of Tons Of Steel on my master was missing so I spliced in a different recording to patch, from a friends cassette of unknown lineage that I borrowed and then converted it to a .wav file.
R.I.P. Sandy- aka "Bigfoot" He was a friend of mine, who had nothing to do with this recording, but he was at this show.
- Addeddate
- 2010-04-26 23:51:13
- Identifier
- gd1985-04-08.beyerm160.d5scott.107045.flac16
- Lineage
- Sony TC-D5M (origional record deck) > Pre Sonus Inspire GT > Sound Forge > .wav files > Trader's Little Helper > flac and ffp files
- Location
- Philadelphia, PA
- Run time
- 141:04
- Taped by
- d5scott
- Transferred by
- d5scott
- Type
- sound
- Venue
- The Spectrum
- Year
- 1985
comment
Reviews
Subject: 31 flavors of pull
With the development of the taper's section we have so many choices of microphones, microphone placement, transfers, etc. It's fascinating, really, but when you only really need one copy of a show, sometimes having only one dude in a random seat with a portable tape deck in 1972 makes things so much easier.
The stories of first hand experiences of the vibe, and residual memories are also a fascinating glimpse of what was missed out from the thing they had to start. Looking through reviews to find some indication of the recording quality is, unfortunately often kind of useless. Granted, there are most likely as many opinions about which recordings are "hot" as there clearly are about which performances were "hot". but having those sorts of debates allows the reader to form some sort of notion about not only the staggering number of concerts available, but also the doubly staggering array of recordings.
Having gone through all of these pulls from April 8th, 1985, narrowing that down to a handful, and then quickly and blindly, comparing a short excerpt from the same song without any sort of fancy diagnostics, just using personal preference on my home stereo, this is the one that seemed to have the best balance. The Senn's have way more bass. The Schoeps pull is warmer, but somewhat dulls Jerry's tone. The Naks, of whatever flavor they happen to be, capture the vocals the best, and the shotguns eliminate crowd noise the most, but seem to lose a lot of low frequencies. This one with spaced Beyer's seems to have more well-defined bass, though not as foundation crumbling as the Sennheisers, yet, keeps Jerry's tone nice and crisp, and presents the vocals in, at least, an equal balance with the other instruments, though not on top of them.
My personal preference for audio recordings is partially because the vocals are so far up front on soundboards, and frankly, often don't warrant such attention other than in the most sensitive moments, in which, because the Grateful Dead were an "ears" band and were able to expertly control their dynamics on stage, the vocals naturally stand above the accompaniment. True, there are some, many, times when you want Jerry's angelic voice caressing the auditory receptors in your brain as directly as possible. That's a certainty. My personal preference when listening to tapes is to feel like being at the show, rather than listening to them as if it is a studio album recorded before a live audience. That's not to say a nice soundboard isn't appreciated, but the mix is made for the room, and the room is where the balance, potentially, is found.
An inexpert opinion forming the type of review that would be nice to see more often.
Now, let's see what this show is all about.
Subject: gorgeous recording!
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