Source #	29091
Entered by	Matt Vernon
Checksums	flac-md5 , ffp
Disc Counts	2 / 3
Media Size
Date Circulated Date Added	04/26/2005 04/26/2005

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Other Sources

• (2595) SBD:MR > DAT > CD-R; noted at gdlive (also to...
• (3739) SBD:MR > DAT > CD-R; material from  previous...
• (15208) MAC (Taped by Jerry Moore, Sony ECM 33Ps*...
• (81110)  flac16 ; Recorded by Alan Zimmerman Master...
• (130927)  flac16 ; SBD  Source ID 3739  Adjusted...
• (139656)  flac16 ; This source is a DAE of the GDLive...
• (141004)  flac24 ; Source: Audience Master Reel  > Reel...
• (141005)  flac16 ; Source: Audience Master Reel > Reel -...
• (141833)  flac16 ; Recording Info: Jerry Moore's Master...

Source Summary
flac 16; SBD/AUD Matrix of 2 previously circulated seeds (SBD - shn ID #2595 & AUD - shn ID #15208); prepared by Chris Chappell

Grateful Dead
Cotterell Gym, Reid Athletic Center, Colgate University
Hamilton, NY
11-4-77
Sick Bits Vol. 5

Source:
Matrix: (SBD/AUD mix)

SBD: MR > DAT > CD-R (shn ID #2595)

AUD: MAC: Sony ECM 33Ps > Sony TC-158 > CDR (shn ID #15208)
Taped by Jerry Moore

[complete text files for each source appended at end]

Transfer/Editing:
Both sources were shn files downloaded from LMA and converted to
WAV > Vegas 5 (matrix) > WAV > CD Wave > FLAC Frontend > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
4/23/05

Set I:
d1t01 - Bertha -> [7:52]
d1t02 - Good Lovin' [6:32]
d1t03 - Brown-Eyed Women [6:07]
d1t04 - Cassidy [5:19]
d1t05 - It Must Have Been the Roses [7:31]
d1t06 - Sunrise [4:34]
d1t07 - New Minglewood Blues [5:51]
d1t08 - Dupree's Diamond Blues [6:25]
d1t09 - Let It Grow [14:11]

Set II:
d2t01 - "Meet The Jones Gang" [2:36]
d2t02 - Samson & Delilah -> [7:22]
d2t03 - Cold Rain & Snow [8:30]
d2t04 - Playing in the Band -> [12:52]
d2t05 - Eyes of the World -> [12:50]
d2t06 - Estimated Prophet -> [11:40]
d2t07 - The Other One ->[4:57]
d3t01 - Drums -> [3:17]
d3t02 - Iko Iko -> [10:05]
d3t03 - Stella Blue ->[12:12]
d3t04 - Playing in the Band [7:04]

Encore:
d3t05 - Johnny B. Goode [5:06]

Total Times:
Disc 1 [64:26]
Disc 2 [60:50]
Disc 3 [37:47]


General Notes:

Given the two sources available on the Llama, I decided to put the effort
into editing a matrix of this weird and powerful night at Colgate U.
during their homecoming weekend.  The Jerry Moore FOB AUD is an excellent
recording, and the SBD is balanced with everyone in the mix and Keith
featured prominently throughout.  The two sources work well together even
though the venue was basically an ice rink with steel walls.

Music Notes:

This show, albeit sloppy at points, epitomizes the ability of the band to
take chances musically, knowing they can falter at any moment but also
collectively discover something around the bend never before seen or heard.
This is also reflected in the setlist which has some noteworthy aspects.
The Let It Grow to end the first set is both out there and raging,
purporting what is to come next.  Technical difficulties allow time for
Phil to introduce the band as the "Jones Gang" at the start of the second
set.  This level of hilarity is indicative of the playing to follow: loose,
strange, daring, and plain old rockin'.  Cold Rain & Snow hadn't been
played in over a year and is one of two played in '77.  The Playin' in the
Band is very exploratory building to a crescendo that segues into the gem
of the show: Eyes of the World - simply the most rockin' I have heard.  
Then, to top it off, they transition into Estimated, with Jerry sort of
happening upon the song unexpectedly.  This is the first Eyes > Estimated,
with another on 11-5-79 and then not again until the famous night at Nassau
with Branford Marsalis on 3-29-90.  A powerful one-verse only Other One
follows, and then the 4th Iko-Iko ever comes out of Drums.  The Stella Blue
is very intimate with Jerry crooning at the end similar to certain nights
in the 90's.  A very long and jammed out Playin' reprise ends the set at
a fervent level, and the Johnny B. Goode to follow doesn't let up.

Editing Notes:

- Pitch
Both sources were pitched differently, the AUD being the sharpest,
and the SBD being the flatest.  I used the SBD as my master timeline
and pitch referenced the AUD to it. The AUD on average had to be pitched
down about .33 (33 cents) to achieve pitch correction - 1.00 being
100 cents which is a semitone.  I did not reference A=440 as I did not
desire to pitch adjust the SBD.  It is very close though to A=440.

- Synch
Because of the speed fluctuation within a given source, multiple edits
were performed to keep the sources synched.  Because the SBD was my
master pitch and time ref, the AUD was synched to the SBD (too many
edits to list).

- Sonic Quality/Matrix ratio
The only dynamic processing I employed was a little bit of limiting
(Waves L2) to the SBD source. All I was trying to do here is to add some
dimension to the SBD by using the ambience of the AUD. The result is a
lively but clear recording, hopefully close to how it sounded at the show.
If I had to guess the SBD/AUD ratio would be somewhere between 3:1 and 4:1.

- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline. Crossfades
were used throughout for smooth transitions to a single source.

SBD:
d1t01 (0:00 - 0:03) - missing (crowd)
d1t02 (6:10 - 6:30) - missing (crowd)
d1t04 (4:49 - 4:53) - missing (crowd)
d1t05 (7:23 - 7:25) - missing (crowd)
d1t06 (4:10 - 4:23) - missing (crowd)
d1t07 (5:19 - 5:30) - missing (crowd)
d1t08 (6:09 - 6:13) - missing (crowd)
d2t01 (0:30 - 1:08) - missing
d2t03 (6:10 - 8:18) - missing (crowd)
d3t01 (