Grateful Dead
09/23/1976
Cameron Indoor Stadium
Duke University  
Durham, NC

This is a restored version of shnid=14687.  It did not involve an upgrade in the source material. 
A short portion contains a transfer from an open reel tape I received in trade in 1977 (unknown generations).   

Thanks to Germain for access to the shn set and for patience in this 18-month project.
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Original notes from shnid 14687:
SBD: Cm-> C-> Cx2-> DAT-> CDR->EAC->SHN->TLH->Flac
Aud patch sources: AUD: Cm->?-> C-> DAT-> CDR

This show is not in the greatest aural shape, but is a worthy listen nonetheless. 
A fair amount of tape hiss is present. Higher frequencies are somewhat attenuated. 
You've been warned.

d1t08: Cut at the beginning
d2t01: missing beginning notes, 1 sec tape stretch at 1:59 
d2t05: Aud starts at the end of Eyes (at 11:12)
d2t06: portion from beginning til about 1:28 is badly mangled/missing
d3t04: AUD starts at about 6:41 and continues through the rest of the show
d3t05: 1 sec dropout at 12:03
DAE and shn encoding done by D.Backus
Contact info: marthanjerry@prexar.com

Another Porky Prime Cut from Terrapin Satation!!
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--Set 1--
101-d1t01 - Mississippi Half-Step Uptown Toodeloo
102-d1t02 - New Minglewood Blues
103-d1t03 - Ramble on Rose
104-d1t04 - Cassidy
105-d1t05 - Brown Eyed Women
106-d1t06 - Lazy Lightning -> 
107-d1t07 - Supplication
108-d1t08 - /Crazy Fingers -> 
109-d1t09 - El Paso
110-d1t10 - It Must Have Been The Roses
111-d1t11 - The Music Never Stopped 

--Set 2--
201-d2t01 - /Help on the Way -> 
202-d2t02 - Slipknot! ->
203-d2t03 - Franklin's Tower ->
204-d2t04 - Looks Like Rain
205-d2t05 - Eyes of the World 
206-d2t06 - Samson & Delilah
207-d3t01 - High Time
208-d3t02 - Dancing in the Streets ->
209-d3t03 - Wharf Rat ->
210-d3t04 - The Other/ One -> 
211-d3t05 - Morning Dew 
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Notes to the above (by Dan McDonald (droncit@yahoo.com), December, 2011):

Along the way I found that this was apparently a mono tape, with all the occasional stereo-sounding deviations 
being problems in azimuth alignment or other issues from different recorders used in making the different 
analog generations.

David Lemieux wrote in an email on 12/7/2011:
"Alas, there is no tape of that show in the vault in any format. We have everything on that starting the next 
night at W&M, but no Duke." He also indicated that this is not a soundboard tape, but most likely some sort of 
feed from the PA system, hence the mono nature of the material. I use pa as the designation.  

Some portions of the orginal source are of higher generation than others (and clearly different from what is 
indicated in the original info file), most likely due to analog editing back in 1976 or 1977, so hiss and muddy 
sound will vary a bit.  There is still hiss and noise, but I think this should be a better listening experience 
than the original. 
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Edits, Modifications:

d1t01: cut opening dead space (several seconds; added a 2-second fade-in to the audience
d1t04: trimmed dead space during audience portion  (about 6 seconds)
d1t05: gain change on left channel to match right channel
d1t07: cut about 4 seconds of dead space, short (1 second) fade out added.
d1t08: left blank space in because of the cut in Crazy Fingers
d1t09: muted tape recorder start/stops, left blank spot in (5 seconds) at end of track
d1t10: muted tape recorder squeak and short (1 second) fade out
d1t11: faded out the audience at end (2 second fade)
d2t01: increased gain for left channel, first 17.5 seconds.Linear change from 7.37dB to 0dB over the period.
       interpolated digi-snit at 
d2t05-06: changed the entire sequenece (Eyes-> Samson) from the shn version to my tape transfer because 
the tape had audience and unmangled soundboard instead of the mangled/missing part referred to above. 
I did a cross-fade from the soundboard to the audience, but a butt cut from audience to soundboard because 
there was not overlap. These portions of my tape sounded too slow so I increased the speed of my transferred 
tape by 2%, and increased Sampson by 1.5%.
d2t06: eliminated tape startup sound at beginning of soundboard portion of Sampson & Delilah
d3t01: eliminated a small section of silence, and faded out High Time
d3t04-05: left the original shnid version of the audience because I thought it sounded better, but edited 
slightly because of repeated notes and because of the restoration process performed on the soundboard.
There were also multiple gain changes to balance out left and right channels.

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Restoration using Diamond Cut 8 Forensics 8.1:

All pa portions from original shn source:
Used a Multifilter to minimize artifacts and quantization errors:
30-band Graphic EQ with emphasis on the high notes, Virtual Valve in high noise mode generating sweet spectrum 
harmonics, one subharmonic generator set at 60 Hz and sub level 6,
EZ enhancer set to boost midrange and treble, exciter set at 31, one continuous noise filter in normal mode, 
with attach at 125 and release at 198, attenuation at 18 (sampled from tape noise sections), and  one continuous
noise filter in normal mode artifact suppression with artifacts at 386 and attenuation at 58 (also sampled from 
tape noise).

All audience portions were given a multifilter with two paragraphic equalizers; one to reduce the overall bassy 
sound (set to lower 60 hz by 10 dB) and one to increase overall upper frequencies, then a channel blender set 
to 'blend to mono' below125 Hz to reduce any handheld mic noise.

Some portions also received additional treble boost or noise reduction because of several generation differences
between the opening songs and the last portion as well as the Sampson & Delilah editing.  Boosting the highs of 
the pa portions also revealed a great deal of background noise (machine noise, buzz and a number of other sounds)
at about 3700-6500 Hz, so I tried to remove the noise while leaving the music as intact as possible. 
Unfortunately,this is also the range where what was left of the high end also remained.

For these areas, the noise levels were sometimes louder than the signal levels, a continuous noise filter in 
spectral subtraction mode was applied wherever the noise made the music unlistenable (notably, "High Time").  
Whenever treble boost was needed to bring out cymbals or other aspects, I used the 30-band equalizer.

The noise filters were necessary because of the hiss present, which was increased tremendously by boosting 
the highs.  







