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July 12th
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1995
30.6k
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343 tapes
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85 shows
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1993
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44.3k
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1979
24k
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55.1k
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97.1k
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109.8k
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5.3k
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94.4k
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1973
71.8k
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1972
36k
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1971
30.1k
82 shows
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1970
22.3k
101 shows
376 tapes
1969
20.7k
112 shows
326 tapes
1968
5.6k
41 shows
125 tapes
1967
2k
23 shows
56 tapes
1966
5.3k
32 shows
78 tapes
1965
413
2 shows
2 tapes
1980
5/10/80
Crowd/Tuning
1:38
New Minglewood Blues
7:48
Peggy O
6:33
Mexicali Blues >
4:16
El Paso
5:08
Althea
9:09
Passenger
6:52
Far From Me
6:18
Lost Sailor >
6:14
Saint Of Circumstance >
5:50
Deal
4:51
Crowd/Tuning
3:00
China Cat Sunflower >
6:34
I Know You Rider
9:50
Feel Like A Stranger >
7:41
Comes A Time >
8:41
Estimated Prophet >
10:39
He's Gone >
14:39
Uncle John's Band >
11:25
Drums >
10:06
Space >
2:20
Not Fade Away >
7:29
Sugar Magnolia
8:40
E1: Alabama Getaway >
4:23
E2: One More Saturday Night
5:06
FIN
View on archive.org
Sources
Source 3 of 16
1:29:07
SHNID:
gd1980-05-10.169891.mtx.chapin.flac2496
Source:
2 Source Matrix by Brock Chapin
Taper Notes:
View NotesMatrix Notes: Soundboard source contains only the first 8 songs of the second set and only that material is included in this release. That source ends at 07:38 of "Not Fade Away" but I include the entire track so the last ~1 minute is the audience source only. This is my first attempt at a matrix mix. My approach was to focus on the wonderful Barry Glassberg audience recording. Their tape is clear, uncolored, and captures the wild room energy of a Saturday night on the East Coast Spring 1980 tour. I didn't apply any EQ or changes of any kind to the audience source. I kept the same track numbers, track length, and names. The 16bit soundboard source is crisp and dry with minimal ambience. The stereo spread is very wide with the individual drummers panned to either side giving it that clunky feel that is common on early 80s soundboards. Both sources include a cassette generation so there is some pitch/speed variation, but more so on the soundboard source. I made many small manual edits and pitch/speed adjustments to the sbd to keep them in sync. I applied a 6db EQ boost at 80hz. I reduced the stereo spread to %23 to closely match the audience. I blended the soundboard level by ear (near 50/50) to enhance the audience and not dominate. Both sources converted to 32bit float at 96khz and then exported to 24bit 96khz software: Audacity 3.7.1 + Melda MUtility Plugin.
Taper: Recorded, Transferred and Mastered by Rob Eaton
2:55:10
Taper:
Recorded, Transferred and Mastered by Rob Eaton
Transferrer:
Mastered by Scott Clugston April 2021
SHNID:
gd1980-05-10.152806.senn.blend.eaton.miller.clugston.flac2496
Source:
Rob Eaton's Master Audience Cassettes; (2)Sennheiser 441 mics (Left + Right) + (1) Sennheiser 421 mic (Center) blend > Nakamichi 550
Lineage:
Master Cassettes (Nakamichi Dragon)> Pro Tools 12 > .wav 2496 > Adobe Audition CC 2020 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Rob Eaton for the master recording, as well as the transfer and harddrive - Thanks to Charlie Miller for coordinating this effort - Thanks to Barry Glassberg and the MOTB folks for the Nakamichi 700 source which supplies a 0:22 patch in Jam out of "Estimated Prophet", a 0:32 patch in "Drums", as well as an 0:11 patch in "Alabama Getaway" - Pitch corrected
Taper: Recorded, Transferred and Mastered by Rob Eaton
2:55:10
Taper:
Recorded, Transferred and Mastered by Rob Eaton
Transferrer:
Mastered by Scott Clugston April 2021
SHNID:
gd1980-05-10.152805.senn.blend.eaton.miller.clugston.flac1648
Source:
Rob Eaton's Master Audience Cassettes; (2)Sennheiser 441 mics (Left + Right) + (1) Sennheiser 421 mic (Center) blend > Nakamichi 550
Lineage:
Master Cassettes (Nakamichi Dragon)> Pro Tools 12 > .wav 2496 > Adobe Audition CC 2020 > TLH flac2496
Taper Notes:
View NotesNotes: - Thanks to Rob Eaton for the master recording, as well as the transfer and harddrive - Thanks to Charlie Miller for coordinating this effort - Thanks to Barry Glassberg and the MOTB folks for the Nakamichi 700 source which supplies a 0:22 patch in Jam out of "Estimated Prophet", a 0:32 patch in "Drums", as well as an 0:11 patch in "Alabama Getaway" - Pitch corrected
Taper: Jim Wise
2:52:33
Rating:
8.40 / 5 ratings
Taper:
Jim Wise
Transferrer:
Andrew F.
SHNID:
gd1980-05-10.aud.wise.83063.sbeok.flac16
Source:
Three Nakamichi CM-300's > patched thru Nakamichi 550 > Sony TC-D5
Lineage:
MAC > CD (likely equipment: Nakamichi Dragon > HHB CDR burner) > EAC > WavMerge > Soundforge > CD-Wave > TLH > FLAC
Taper Notes:
View NotesNotes: Mics on a stand, next to the soundboard. This is from the same MAC that became ShnID-7559, but is an upgrade to that file-set as follows: - One of the transfers in the lineage of 7559 was run way too hot, and all the wav's ended up clipped and distorted. This seed is an excellent transfer from the MAC and a major improvement in sound quality. - This source does not have the drop-outs in He's Gone that are on 7559. - The two tape flips in the second set have been patched with material from Steve Rolfe's tape (ShnID-18158), so the second set is seamless. Rolfe reports he was set up "right beside the soundboard on the left side". As the same people can be heard yelling on both sources, it's presumed that the tapers were set up very near to each other. Patches from ShnID-18158 are located in: Passenger (crowd noise at end) 5:09 > 5:23, Estimated Prophet 9:12 > 9:21, Drums 8:39 > 8:47. WavMerge and CD-Wave were used to combine and retrack the file set. Soundforge was used to make fades, and to insert the patches. TLH was used for SBE fix, lossless compression, and checksums. There are numerous fireworks and loud explosions during the show. THANKS to Jim for the discs!
Taper: Jim Wise
2:51:54
Rating:
8.00 / 2 ratings
Taper:
Jim Wise
Transferrer:
Willy
SHNID:
gd1980-05-10.aud.willy.7559.sbeok.shnf
Source:
Nak 300's > Sony D5
Taper Notes:
View NotesNotes- Succesion of dropouts between 11:26 & 11:31 d2t06 (He's Gone) Cut between end of d2t07 & start of d3t01 (UJB & Drums). It is between discs and as such unnoticable. At least until longer media. Several loud 'bangs' during the show (careful if you're driving ;^). This was my first show and I remember (vaguely) these noises as being firecrackers of some sort. You can hear the crowd 'boo' the noises. I really tried not to put 'drums' at the start of d3, but this was a headache show to track because the pre drums run of songs was so long. If you have any alternate tracking ideas feel free to let me know or just post it in the etree 'comments' area.