Source #	102155
Entered by	dr.unclear
Checksums	ffp , flac-md5
Disc Counts	2 / 2
Media Size
Date Circulated Date Added	10/24/2009 10/24/2009

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Other Sources

• (236) Source: ?? > Turtle Tree > CD > SHN; via B....
• (2562) sbd> reel (mic mix)> DAT> CD; via Mike Lai;...
• (9392) SBD : MR > DAT > CDR (HHb850); DAT > CDR...
• (22257) Bertha Remaster of the master reel source;...
• (86250)  flac16 ; Source: On Stage Mic's (BY Band) > ?...
• (91769)  flac16 ; Analog Audience Source: FOB Master...
• (91770)  flac24 ; Analog Audience Source: FOB Master...

Source Summary
flac16; Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC16)

Grateful Dead
Lindley Meadows, Golden Gate Park
San Francisco, CA
September 28, 1975

Jerry Garcia - Lead Guitar, Vocals
Donna Jean Godchaux - Vocals
Keith Godchaux - Keyboards
Mickey Hart - Drums
Bill Kreutzmann - Drums
Phil Lesh - Electric Bass, Vocals
Bob Weir - Rhythm Guitar, Vocals



*Matrix*

----------------------------------------------------
SBD (shnid=22257):

Bertha Remaster of the master reel source.

SBD>>MR>>DAT>>CDA>>WAV(EAC)>>SHN>>DAW(Bertha)>>CDA/SHN - Sound A

Digitally remastered using a custom built, Dual-DAW, nicknamed Bertha, by jashley@deadacated.com on February 6, 2004.

----------------------------------------------------
AUD (shnid=91769):

MOTB Release: 0069 16/44.1
Release Date: 2008-05-05
Band: Grateful Dead
Date: 1975-09-28 (Sunday)
Venue: Lindley Meadows - Golden Gate Park
Location: San Francisco, CA
Analog Audience Source: FOB Master Cassettes (MAC)
Medium Stock Brands: MAC = 2 x Maxell UD 120
Analog Lineage: 2 x Sony ECM-270 => Sony TC-152 >> MAC
Analog Sound Preservation: MAC >> Nakamichi DR-8 => Korg MR-1000 >> DSF [1-bit 5.6448 MHz Stereo] >> Korg MR-1000 => Korg AudioGate >> WAV [24/96]
Taped By: Bob Menke and Louis Falanga
Transfer By: Bob Menke
Mastering By: Derek McCabe

---------------------------------------------------
Thank you to Jay Ashley the SBD transfer,
to Bob Menke and Louis Falanga for recording the show,
and to Bob Menke and Derek McCabe for the AUD transfer.

Matrix by Hunter Seamons using Final Cut Pro (SHN & FLAC>AIFF>Final Cut>WAV>FLAC16)  
October 24, 2009



d1t01 - Tuning
d1t02 - Help On The Way ->
d1t03 - Slipknot!
d1t04 - The Music Never Stopped
d1t05 - They Love Each Other
d1t06 - Beat It On Down The Line
d1t07 - Franklin's Tower
d1t08 - Big River
d1t09 - It Must Have Been The Roses
d2t01 - Truckin' ->
d2t02 - Jam ->
d2t03 - Drums ->
d2t04 - King Solomon's Marbles ->
d2t05 - Not Fade Away ->
d2t06 - Goin' Down The Road Feeling Bad ->
d2t07 - One More Saturday Night



Notes:

1) While I chose to use the Bertha Remaster (Ashley source) of the SBD (even though I tend to avoid remasters where a bunch of EQ work has been done), I do not consider the Ashley source to be better or worse than the Fink SBD (shnid=9392) - it really is a matter of taste. There are pros and cons to both sources, depending on what one is looking for in terms of sound. If one wants a more accurate representation of the original recording intentions, I would recommend the Fink source. There are good reasons to say why the Fink source is better sonically, but then there are good reasons to say why the Ashley source is better sonically. The Fink source is the more traditional and historically accurate recording, like what you'd find on a Dick's Picks. The Ashley source has some enhancements that give it a lot of ambience (similar to what a matrix attempts to achieve, among other things), and there's some boost in the highs and lows, with a detraction, or side effects, to other aspects of the waveform, most likely. In this sense, the Ashley source is less true to the original recording, and it could be considered a degradation of the original sound. Whatever tricks Ashley employed on the SBD, it sounds more like an indoor recording, like the Grateful Dead are playing at the Paramount Theatre in Oregon or at the Capitol Theatre in New Jersey, not in Golden Gate Park in San Francisco. The fuller, more ambient sound of the Ashley source, however, seems to be more in keeping with what people would want to hear in a matrix source, but that does not rule out the benefits of making a matrix using the Fink source, which I would still consider doing, especially if folk would prefer that instead. In any case, the Bertha Remaster has received very positive reviews at the Archives, including negative ones by people who really know their stuff about audio, but it has been considered an "upgrade" in general (not saying here that it is). Since I did a matrix of the next show (6/3/76) that uses a Bertha source with pleasing results, this keeps things consistent in that respect. Also, mixing in the excellent MOTB AUD helps round out and brighten what the Bertha source may be lacking in.


    length     expanded size    cdr  WAVE problems  fmt   ratio  filename
     2:01.54       21471452 B   ---   --   ---xx  gd75-09-28d1t01.flac
     5:15.38       55655420 B   ---   --   ---xx  gd75-09-28d1t02.flac
    10:37.58      112503260 B   ---   --   ---xx  gd75-09-28d1t03.flac
     8:45.32       92685308 B   ---   --   ---xx  gd75-09-28d1t04.flac
     7:40.60       81285164 B   ---   --   ---xx  gd75-09-28d1t05.flac
     3:31.55       37349804 B   ---   --   ---xx  gd75-09-28d1t06.flac
     9:49.05      103911404 B   ---   --   ---xx  gd75-09-28d1t07.flac
     5:10.18       54726380 B   ---   --   ---xx  gd75-09-28d1t08.flac
     6:43.53       71213900 B   ---   --   ---xx  gd75-09-28d1t09.flac
     8:34.53       90794300 B   ---   --   ---xx  gd75-09-28d2t01.flac
     5:34.48       59030540 B   ---   --   ---xx  gd75-09-28d2t02.flac
     5:50.64       61890572 B   ---   --   ---xx  gd75-09-28d2t03.flac
     6:44.68       71425580 B   ---   --   ---xx  gd75-09-28d2t04.flac
     9:55.07      104974508 B   ---   --   ---xx  gd75-09-28d2t05.flac
     7:33.49       80024492 B   ---   --   ---xx  gd75-09-28d2t06.flac
     8:10.23       86490140 B   ---   --   ---xx  gd75-09-28d2t07.flac
   112:00.10     1185432224 B                            0.6075  (16 files)