Source #	142210
Entered by	Scott
Checksums	nrps1973-05-26.ffp.txt
Disc Counts	0 / 0
Media Size	Compressed: 292 MB (306184192 bytes)
Date Circulated Date Added	06/11/2018 06/11/2018

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Other Sources

• (142135) flac16: sbd 2" 16 track 10" reel master @ 15 ips
• (142136) flac24: sbd 2" 16 track 10" reel master @ 15 ips

Source Summary
flac16: sbd 2" 16 track 10" reel master @ 15 ips - COMPLETE

New Riders Of The Purple Sage
5/26/73 11:00am
Kezar Stadium, San Francisco, CA

John Dawson - guitar, vocals
David Nelson - lead guitar, vocals
Buddy Cage - pedal steel
Dave Torbert - bass, vocals
Spencer Dryden - drums
guests:
Matthew Kelly - harmonica (on Groupie and Willie & The Hand Jive)
Darlene Didomenico - vocals (on Whiskey)


source: sbd master - 16 track, 2 tape, 10 ampex reel @ 15 ips,
*except track 13: sbd master 2 track (thanks Rob Bleetstein)

most likely a Betty board recorded on an ampex mm-1100,
tape acquired by Rob Berger on auction site from seller in san diego

ampex mm-1200 > a/d by @ 24/96 by sonicraft a2dx labs >
mix by Alan Bershaw June 6 & 7, 2018 (see notes)



01 - tuning & Bill Graham introduction 01:04
02 - Its Alright With Me 04:04
03 - Rainbow 03:53
04 - She's No Angel 04:25
05 - You Should Have Seen Me Runnin 04:06
06 - Kick In The Head 04:21
07 - Crazy Arms 04:14
08 - Henry 04:37
09 - Hello Mary Lou 03:37
10 - Sutter's Mill 03:05
11 - Groupie 03:26
12 - Whiskey 03:24
13 - Willie & The Hand Jive* 10:35



Notes on the mix:
I wanted to create an enjoyable stereo listening experience while conveying the multitrack recording as accurately as possible, without any processing to the individual channels and without compression or EQ applied to anything including the final mix.  In other words, staying true to the sound of the actual tape with full dynamic range.

After evaluating the 16 tracks, I began by creating 3 submixes (rhythm section/guitars/vocals), much like I would have mixed it live.  The first song had the most adjustments going on and like any live mix, the sound of each channel gradually improves during the first several songs, so this also applies to the results.

Each submix was created in stereo, starting with the 5 drum channels. Torbert's bass had 3 channels so that was next, prior to mixing him into the drums submix.  One channel was a DI and the other two were outboard signals, only one of which was working properly and neither of the outboards had any signal until partway into "You Should Have Seen Me Runnin." I disregarded the bad channel (outboard stage right), which only added distortion. Its only the bass DI for the first couple of songs, but when the good outboard channel kicks in, I split the two working bass channels. The low end gets punchier and gains definition from there on out.

The other two submixes were the 3 guitars, where I placed Dawson in the center, Cage's pedal steel emphasized on the left and Nelson's lead emphasized right, just like you'd be looking at them onstage.  Ditto for the vocal submix, although I adjusted that somewhat for whoever was singing lead.

Then it was just a matter of blending the submixes together and checking the results on several pairs of speakers and a good set of headphones.  I should also mention that there was one channel (track 16) being used for an ambient mic.  That mic wasn't turned on until "Kick In The Head" and its just a single omni capturing crowd ambience. It makes no audible difference during the songs, but after "Kick In The Head" can be heard between songs, and for a few seconds allows one to hear a bit of Dawson's stage banter when his microphone cut out. Speaking of which, this set was not without technical difficulties and the mastering deck was paused a couple of times between songs, while issues were being addressed. These abrupt cuts have been smoothed over and do not effect any of the songs except at the beginning of "Henry," where a few seconds were missed when they were slow to get the tape rolling again.

At some point I may play with mixing individual songs, as this could no doubt be mixed a lot more meticulously, but without getting carried away, I'm satisfied with it for now (48 hour turnaround Rob! During the workweek!).

It achieves what I set out to do, with minimal polish and I had fun with it.  It may not sound like a typical Betty Board anymore, but I tried to keep it true as possible to the sound she recorded.  Hope folks enjoy it.

Here's to Rob Berger for acquiring this lost multitrack master reel! And thanks to Rob Bleetstein for sharing his board recording with us so we could include the missing last song.

Alan Bershaw 6/7/18