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Grateful Dead 09.04.1983 Park City, UT Complete MTX⚡Friday famJAM Ep.132

Grateful Dead September 4, 1983 ParkWest Ski Resort - Park City, UT Set I 0:00:00 Audience Tape Intro/ticket stub 0:02:54 Bertha 0:09:22 Promised Land 0:13:54 Friend Of The Devil 0:23:24 Little Red Rooster 0:33:07 Tennessee Jed 0:41:44 My Brother Esau 0:47:27 Althea 0:57:18 Hell In A Bucket ~ 1:02:56 China Cat Sunflower ~ 1:08:19 I Know You Rider Set II 1:14:21 Scarlet Begonias ~ 1:28:35 Fire On The Mountain 1:41:46 Man Smart (Woman Smarter) ~ 1:49:01 Drums ~ 1:58:08 Space ~ 2:04:12 Spanish Jam ~ 2:10:37 The Wheel ~ 2:15:53 The Other One ~ 2:24:15 Wharf Rat ~ 2:34:58 Around And Around ~ 2:38:51 One More Saturday Night E 2:43:48 U.S. Blues Jerry Garcia - Guitar, Vocals Mickey Hart - Drums Bill Kreutzmann - Drums Phil Lesh - Bass, Vocals Brent Mydland - Keyboards, Vocals Bob Weir - Guitar, Vocals Matrix ----------------------------------------------------------------- SBD (shnid=117185); Recording Info; SBD ~ Cassette Master ~ Reel (Technics Deck) ~ Dat (Panasonic SV3800/48k) Transfer Info; Dat ~ Samplitude Professional v11.2 ~ FLAC All Transfers and Mastering By Charlie Miller November 15, 2011 Notes; -- Set 2 is seamless -- There's a short tape flip in Althea at 5;33 -- Thanks to Rob Eaton for the Dat [0;44 cut during Space. 0;04 cut during Spanish Jam] --------------------------- AUD (shnid=149228); This is a 16/48 fileset. 24-bit ~ 16-bit via dBpoweramp Source Info; Bob Wagner's Master (FOB) Audience Cassette; Nakamichi CM700 mics ~ Sony TC-D5M Transfer Info; Cassette Master (Nakamichi CR-7A) ~ Tascam DA-3000 (DSF 1-bit/5.8 MHz)~ KORG AudioGate 4 ~ Adobe Audition CC 2020 ~ TLH flac2496 Notes; Thanks to Bob Wagner for the master recording (patched out of Jaime Poris) Thanks to Charlie Miller for the transfer and coordinating this effort Thanks to the folks responsible for the Beyer M160, Sennheiser 441 blend source which supplies 156 patch in "Drums" Spanish Jam space included in "Spanish Jam" Thanks to Joe B. Jones for his assistance with the pitch correction Mastered by Scott Clugston March 2020 [30-second cut during Drums] [Circulated 3/14/20] ---------------------------- Thank you to Charlie Miller for the SBD transfer, to Bob Wagner and Executive Crew for recording the show, and to Charlie Miller, Scott Clugston, and Executive Crew for the AUD transfers. Matrix by Hunter Seamons using Final Cut Pro (FLAC ~ AIFF ~ Final Cut w/EQ ~ Soundtrack Pro ~ AIFF CD tracking via Audacity ~ FLAC16 via xACT w/meta-tagging) November 1, 2024 Notes; The SBD was pitch corrected slower -0.5% through Little Red Rooster, then -0.3% through the end of set one. No pitch correction needed for set two. A 4-second cut in Althea, a 44-second cut during Space, and a 4-second cut during Spanish Jam in the SBD source are now patched. The Executive Crew (Kyle Holbrook, Chris Kidwell and Tom Pinney) AUD source (no.143000, 8/24/18) provides a partial 0;28 patch of the song break before Hell In A Bucket. There were some initial mix fluctuations and a more brittle sound in the SBD source during Bertha, particularly before Phil's bass kicks in. There's also a subtle warbly, watery sound in the SBD source at times early on (during Bertha, Promised Land, and Hell In A Bucket mostly), which can sometimes be detected in the PA as well in the AUD source. Nothing major or frequent. After significant improvement with Friend Of The Devil, the sound becomes optimal and more balanced around Little Red Rooster - really good outdoor sound on this one, approaching Frost '82 style. Some very light EQ was used for most of the show to address two particular high end frequencies. The sound dynamics of the SBD source changed significantly for the first half of the second set, with a little more muffled sound and noticeably less bass response through Women Are Smarter. We did some mild compensatory EQ by adding decibels to select bass frequencies in an organic way for this section, then a little less in two subsequent sections as the bass returned more during the set, closer to how it sounds in set 1. We left the high end untouched here, and the normal treble returns soon after the cut in Space (closer to how it sounds in set 1). This source appeared more welcoming to significant bass adjustments (in set 2), while other recordings are often more sensitive to increases, becoming too heavy very quickly, and are better left untouched. Some additional EQ was used for the AUD source in set two only. There are some moments of heavy buzzing or crackling in the sound system during Women Are Smarter and U.S. Blues. A couple clicks were removed during Spanish Jam. A very lush, bright, crisp, and airy sound for this one, with plenty of robust bass. A unique sounding, quality outdoor matrix thanks to the excellent sources! ways to support ↪ Thank you kindly for your consideration ◾ Be Kind for no reason :) ◾ https://linktr.ee/nognuisagoodgnu #jerrygarcia #gratefuldead