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Show detail for Grateful Dead - 10/10/80
Show Date	10/10/80
Venue	Warfield Theater
City	San Francisco
State	CA
Set 1	Acoustic Set On The Road Again It Must Have Been The Roses Monkey & The Engineer Jack-A-Roe Dark Hollow To Lay Me Down Heaven Help The Fool Bird Song > Ripple
set2	Electric Set 1 Mississippi Half Step Uptown Toodleloo > Franklin's Tower Me & My Uncle > Big River Candyman Beat It On Down The Line Row Jimmy New Minglewood Blues Althea Jack Straw
set3	Electric Set 2 Scarlet Begonias > Fire On The Mountain Samson & Delilah Big Railroad Blues Estimated Prophet > Eyes Of The World > Drums > Space > Truckin' > Nobody's Fault But Mine > Black Peter > Around & Around > Promised Land Encore: U.S. Blues
Comment	Jerry Garcia - Guitar Bob Weir - Guitar Brent Mydland - Keyboards Phil Lesh - Bass Bill Kreutzmann - Drums Mickey Hart - Drums
Show Added By:	System
Last Update	2018-11-22 23:22:36
Date Entered	2001-07-10 22:15:08
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10/10/80 - Source: Recording (attributed to) Bob Menke: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Vernon
User	Media Type	Media Count	User Source Info	Notes
A.D.Y. List	FLAC	1	Source: Matrix (SBD/AUD mixdown): SBD: Acoustic: SBD>MR>PCM>DAT>CDR>EAC>SHN Electric: MSR>C>C>DAT>WAV>SHN (C>DAT Conversion by Cousinit)	General Notes: Given the multiple sources available on the Llama, I put the effort into editing a matrix of this often overlooked gem of the Warfield run from the Dead Set and Dead Reckoning live session recordings in the fall of '80. There may be better overall played shows from other nights at the Warfield and also their Radio City counterparts (don't forget the Saenger in NOLA), but my motivation here was the best versions of Althea and Jack Straw that I have heard, not to mention an excellent Scarlet>Fire. The Jack-a-roe is the version on Dead Reckoning (aka For The Faithful), and the quality of the acoustic set SBD is very crisp, probably close to the multi-tracks. The electric SBD is not as nice, but when coupled with the AUD, the show really comes to life. The electric SBD is also plagued by many holes, the worst being that there is no SBD for most of Truckin' and then through the rest of the show. All things equal, Althea, Jack Straw, Scarlet > Fire are completely sick, and worth the matrixed effort, not to mention it was fun doing an acoustic set too - the audience element is cool; and even though it's a balcony recording, the Warfield is small enough that the intimacy is still present and desirable. Timeline/Tracking Notes: Not much music is missing from the AUD, but the SBD lacks good coverage, except for the upgraded acoustic set which has more in between song tuning. The transition between all three discs can be put together seemlessly. The show tracks well for 3 discs (2 of them 80 min. discs), and even though it's a 3 set show, I felt it important to keep it to 3 discs. This way the end of the second set and the beginning of the third set are on disc 2, and that's where the nuggets are anyway. Editing Notes: - Pitch Both sources were pitched differently, the SBD being the sharpest, and the AUD 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 up about .28 (28 cents) to achieve pitch correction - 1.00 being 100 cents which is a semitone. However, this pitch differential did fluctuate throughout the show, and was especially tough in Row Jimmy as the reels on the SBD were running out. Big RXR Blues is funky too. I did not reference A=440 as I did not desire to pitch adjust the SBD. It is very close though to A=440, albeit a little sharp. - 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 I did choose to employ a slight amount of limiting to the SBD (Waves L2) to give it a slight amount of punch and presence. For the electric SBD source I had to employ some noise reduction as the hiss is a little much and takes away from the matrix sonically. Waves X-Noise was used to accomplish this task, in which I used the "learn" function which isolated the hiss through frequency spectrum analysis and drew an appropriate graph for EQ. I was then able to solo just the noise being "reduced" and found that almost no music was being lost, thus an optimum result. Conceptually, all I was trying to do here is to add some dimension to the SBD, which is pretty dry but very crisp, 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, leaning more towards the 4:1 end of things. - Edits The following are places where the SBD and AUD had holes or incomplete coverage in reference to the final matrix timeline. I also edited out reel pauses from the SBD where appropriate (like places where the AUD is the only source because the SBD has been paused) to provide an enjoyable listening experience. I left them in where the SBD was the only source (like the beginning of Estimated).
ALAN J FINK
Andrew Patrick		3	Nakamichi CM700 Mics (3)>Mixer>Sony D-5	Whole show; 1st set acoustic
Bill	WAV	1		disc 3 only
Bob Abrams
brett garvey	SHN	3	Nakamichi CM700 Mics (3)>Mixer>Sony D-5	gd1980 21 of 30
Built2Last		3
cbass
Chris Davis	cdr	3	Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke,
Chris Horner	SHN		Nakamichi CM700 Mics (3)>Mixer>Sony D-5 Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 Conversion: CDR > EAC (secure) > Cool Edit (minor clean up) > cdwav (retracking) > mkwact &
CMN
coachnatebean	SHN	2	Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Ver
CTDEADHEAD	SHN	2		AUD
Dave Sanders	shn	2
Dean Thole	SHN	2
denance	shn	3		Nakamichi CM700 Mics (3)>Mixer>Sony D-5;1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700;CDR > EAC (secure) > Cool Edit (minor clean up) > cdwav (retracking) > mkwact > shn (seekable)
Doug Moog	shn	3	AcDC
dps	shn	2	Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Ver
Eric Richbourg	shn	2
Gary Field	SHN	2	AUD	Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5
GratefulBrad	cdr	3	Nakamichi CM700 Mics > Mixer > Sony D-5	Complete - Audience - This is the first tape I listened to. The first words I remember hearing was..."everybody's playin' in the heart-of-gold band..."
JD	shn	2	Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700
Jeff Mitchell
Jeremy Workman	cd	3		have shns (2)
Ken Berry	SHN	2
Kenneth Barner	SHN	3		1 acoustic set, 2 electric sets
Kima	shn	3
Larry
Larry Sanders	CDR	3
LossLess Legs	CDR	3	Nakamichi CM700 Mics (3)>Mixer>Sony D-5	11/26/2006 - quimbo
Marc Deardorff	shn	2		Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Vernon
Mark Gay	SHN	3		13989
Matt Vernon	SHN	3		complete aud including acoustic. set 1 electric Candyman, BIDTL, Althea & Jack Straw are good. Set 2 is marred by the oscillating left channel but the Estimated > Eyese > DRums > Truckin > Peter > Rnd & Rnd combo is fairly common and this rendition didn't stand out for me
Michael McMullan	CDR/SHN	3	Aud	Acoustic and Electric Sets
MrSteve	cd	3		mic>cm>dat>cd
My Home	Shn		Source: Recording (attributed to) Bob Menke: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Vernon
neal r		3		207
Rich Gaul	SHN	2
Richard D. Jordan	shn	2	Nakamichi CM700 Mics (3)>Mixer>Sony D-5
Richard Warren	shn	2		13989
Rick Childs	CDR	3
sean hite	SHN			(13989) Grateful Dead: Source: Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson, via Roual Duke, SHN Conversion by Matt Vernon
SIRMick	SHN	2
steve	CDR	3
Steve Blanchard	SHN	3	Nakamichi CM700 Mics (3)>Mixer>Sony D-5	Complete show
Steve Sawyer	SHN	3	AUD
Steve Swartz
T Buckley	shn	2		MAC(Nakamichi CM700 Mics(3)>Mixer>Sony D-5)>1st Gen. Cassette>JVC TD-W309(w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700>CDR>EAC(secure)>Cool Edit>cdwav>shn(seekable)
thrak	shn	3	Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700
tom kunz	shn	2
Tommy Brame (shn)		2
Tony Handmaker	SHN	2		Nakamichi CM700 Mics (3)>Mixer>Sony D-5
wally-brewing		3		d25
Willy	SHN	3		Nakamichi CM700 Mics (3)>Mixer>Sony D-5 by Bob Menke from Balcony, Center Remaster: 1st Gen. Cassette>JVC TD-W309 (w/pitch correction)>Tascam DA-20mkII>Tascam CD-RW700 by Douglas Ferguson
winterland121072
x poordevil	cdr aud	3	d2,d3,d4 aud source, Nak CM 700mics(3)	dnl,re-master:1st gen cass>JVC TD-w309(w/pitch correct) Tascam DA 20mkII
ziko
zowie	cd	3	aud