Grateful Dead

December 30, 1991
Coliseum Arena,
Oakland, CA
Sets I & II

Upgrade to shnid 105000

Recording: B&K4011 (@110-ORTF) > MIT shotgun XLR > TAO/Oadie PS > MIT shotgun XLR > Panasonic SV255 > Master DAT (BÃƒÂ¼Stand)

Transfer: Master DAT > Peter OshmanÃ¢â‚¬â„¢s Panasonic SV3800 > S/PDIF(16bit 48kHz) > Edirol R4 > WAV48/16; (Set 1-tape 1 transfer: 2019-07-14; Set 2-tape 2 transfer: 2019-06-11)

Master Digital FOB Recording & Transfer by Marcus Buick
Edited & Mastered by Joe Noel
April 30, 2020

Production Notes by Marcus Buick (2019-04-29)

Night 3 of 4. My 1st show was 12-30-1985, so technically, this was my sixth Deadversary!  The 30th fell on a Monday night, and recovering from the weekend was occurring for some, while others were just getting ready to ramp it up for New YearÃ¢â‚¬â„¢s!  Any four-day run of shows in the Bay Area took a certain stamina, but New YearÃ¢â‚¬â„¢s shows always took that little je Ã¢â‚¬Ëœne sais quoi!

Priority tickets (and the people who wait in line to get them) are required for getting Ã¢â‚¬Ëœthe spotÃ¢â‚¬â„¢; most who que in line for these rarities are gunning for the rail but the most ardent tapers know that to get FOB DFC, priority tickets are an essential part of the equation.  In addition to securing Ã¢â‚¬Ëœthe spotÃ¢â‚¬â„¢ the recordistÃ¢â‚¬â„¢s support crew are equally vital; That barrier between the mics and the unknowing public, for who taping is usually a non-consideration more than a nuisance, is a primary concern for capturing the accuracy of the music with absolute minimal distraction. Balloon pops, claps, yammerings-on, and laughing are the sounds to minimize, which only a support crew can do, once mics have been hoisted.  The reason I point this out is even though I am a recordist of this event I was, in no way, alone.  The amount of people that had a hand in making this recording is easily a dozen (if not two). I wonÃ¢â‚¬â„¢t name everyone here; They know who they are!

The main reason I got into taping the Dead was for the sonics; The accuracy of a Meyer Sound PA (in Quad) on a good night cannot be beat. I believe the Drums & amp; Space performance this evening reaches a level of dynamics uncommon in most human experiences; This recording demonstrates acoustics that can test high performance reproduction systems as well as bodily organs due to bone conduction!  The performance is strong, there are no technical issues, and this is a fine capture of this event!

Additional Notes:
- Thanks to Marcus Buick for sharing his Master DAT
- Thanks to John Ammons for coordinating these efforts
- Thanks to Pete Oshman for the use of the SV3800
* w/ Airto Moreira (drums & vocals)

- set I -
s1t01 - crowd - tuning
s1t02 - Touch of Grey
s1t03 - Wang Dang Doodle
s1t04 - Row Jimmy
s1t05 - Big River ->
s1t06 - Maggie's Farm
s1t07 - Ramble on Rose
s1t08 - tuning
s1t09 - Just Like Tom Thumb's Blues
s1t10 - Bird Song ->
s1t11 - Promised Land

- set II -
s2t01 - crowd - tuning
s2t02 - China Cat Sunflower ->
s2t03 - I Know You Rider ->
s2t04 - Samson & Delilah
s2t05 - Ship of Fools
s2t06 - Saint of Circumstance ->
s2t07 - Dear Prudence Jam -> *
s2t08 - Drums -> *
s2t09 - Space ->
s2t10 - The Last Time ->
s2t11 - Stella Blue ->
s2t12 - Turn On Your Lovelight
s2t13 - encore break
s2t14 - The Weight

Total Run Time: 3:04:31.113

Checksum & tags created in xACT.

Tagging notes:
Show information is embedded within the header of each flac file.
It will display on any player capable of directly playing flac files.
If converted to wav during processing, all tags will be stripped,
however audio data will remain unaffected. If you must
transcode to a lossy format, do so directly Flac > Lossy.
Use ffp or st5 to validate audio integrity.
Md5 values will change if tagging is altered.
[J.Noel 30 April 2020]




