Grateful Dead
Fillmore East
New York, NY
9-19-70 (d3 only)
Sick Bits Vol. 14

Source: Matrix (SBD/AUD mix):

SBD: (shnid=5217) - via Seth Kaplan
MSR > DAT > CD or SBD> Rm> Reel> Dat> Sonic Solutions> CD> EAC> SHN

AUD: (shnid=25473) - via Jack Warner
Source 1: MAC (Taped by Jack Toner, Sony TC-110 with built-in microphone) > reel > 
          cassette > CD > Samsung SW-232B extraction (EAC v0.9 beta 4) > FLAC
Source 2: MAR (Taped by Marty Weinberg, AKG190E>Uher 400L) > Technics 1506 playback>
          Cardas audiophile cables > HHB CDR 800 master CD > CD > Samsung SW-232B 
          extraction (EAC v0.9 beta 4) > FLAC
Toner A > D by Dwight Holmes
Weinberg A > D by Steven Martin > Dr. Michael Parrish > Warner
Patches and EAC > SHN by Jack Warner

Transfer/Editing:
Both sources were downloaded from the LlaMA and were converted to
WAV > Sony Vegas 5 > WAV > CD Wave > FLAC 16 (level 8)

Matrixed by Chris Chappell
ScarFire@liquidcity.com
11-11-05
___________________________________________________________________

Set II:

d3t01 - Dark Star ->
d3t02 - St. Stephen ->
d3t03 - Not Fade Away ->
d3t04 - Darkness Jam ->
d3t05 - China Cat Jam ->
d3t06 - Not Fade Away ->
d3t07 - Turn On Your Lovelight
d3t08 - Crowd noise > Youngbloods: Get Together... ->
d3t09 - Phil and Pigpen speak ->
d3t10 - Youngbloods: Get Together -> Crowd noise 

Total Time:[68:14]

___________________________________________________________________

General Notes:

After doing the 2-19-71, I was searching the LMA for some old boyz that would
be suitable for a matrix when I found this gem in which only the end of the
show existed in SBD.  I did a test on a portion of Dark Star and nearly lost
my mind when first hearing the combination.  The SBD is excellent in quality
although it lacks a little low end made up by the source 1 AUD which is quite
nice for the "outside" sections of Dark Star.  The source 2 AUD covers the end 
of St. Stephen through Lovelight, and the crowd interaction with Pig Pen is
really amazing, something you just don't get with a soundboard recording.

Worthy of noting (not captured in the tracking notes) are the following events:
- d3t01 Feelin' Groovy Jam @ 16:09 - 17:35
- d3t07 Let It Rock riff @ 13:52
- d3t07 Pig Pen "let's fuck" @ 10:50 and "fuck!" @ 20:19
- d3t09 Pig Pen "Why don't you guys go home and fuck somebody" @ 0:16

Aside from the incredible Dark Star (with a prominent guiro in the mix), the NFA 
jams are really intense with Garcia and Weir totally going at it, at one point 
playing the same China Cat lick at the same time.  The loony Lovelight is just 
that, with Pig imploring people from the crowd to say something into the mic, and 
one guy yells "hey, let's ball in the moonlight" (9:35) - the band on fire as they 
follow Pig through his crazy Saturday night rant in NYC.  The band is so blown out 
(Garcia's hand gets a cramp and Bobby loses his voice) that they can't do an encore. 
No matter, this shit simply smokes.

Ironically, this show was pretty easy to synch, with the pitch of both AUDs and
the SBD being relatively close to each other.  What posed more of a challenge
was the multiple recording level changes in the Source 1 AUD which I tried to 
smooth out, mostly sucessfully.  Also helping matters is Bear's SBD mix which is 
spot on, plus the quality is great, I just added some Fillmore ambience from the 
awesome AUD recordings, the result hopefully close to what is what like at the
show - I wouldn't know, I had just turned 4.

-------Reviews from the LlaMA:

"Best dark star + lovelight. Pigpen is perfect. Best Dark Star for 1970. Pigpen's 
rap is so great in Lovelight. My favorite pre 1972 show."

"The NFA>Darkness>China Cat Jam>NFA is ridiculous. I listen pretty seriously to 
this stuff (70-79) and I would put this up there with the top ten sets of the era."

"This is one of the most beautiful transluscent Dark Stars ever played. The quiet 
passages are simply amazing. I can't believe this was performed live on a stage in 
front of an audience. It has such an intimacy to it."

"On this night, something extra seemed to be in the air. Was it the fact that 
Jimi Hendrix had been found dead the night before (with Janis short to follow)? 
Something pursuaded the dead that night in NY, and the emotions were bold as love."

-------Credits:

Thanks to Seth Kaplan for the excellent SBD extraction & conversion.  
Thanks to Jack Toner and Marty Weinberg for their respective AUD recordings,
and to Dwight Holmes and Steven Martin for their A>D conversions.
Thanks to Dr. Michael Parrish for providing the Weinberg/Martin source.
Thanks to Jack Warner for the editing, assembly and conversion of the AUDs. 
And, of course, thanks to the LlaMA for making this all possible.

Front Cover found at: http://www.geocities.com/deadpieshop/
All other art and layout by yours truly.

Enjoy!
Chappy

Editing Notes:

- Pitch
Both sources were very close in pitch, even between the two AUD sources.  
I used the SBD as my master timeline and pitch referenced the AUDs to it. 
Source 2 AUD was closer in pitch to the SBD than Source 1 AUD, but both
were never off more than a couple of cents.

- 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
No EQ was applied to either of the three sources.  There is some low end
distortion present in Source 1 AUD, and where it was noticeable (because
of multiple level changes by the recordist) I used the volume envelope to 
diminish these sections (very few) so that the distortion is barely 
noticeable.  However, I didn't want to edit out these sections completely 
or I would have lost the matrix, that being more noticeable than anything 
else.  The key was to keep the listening experience realistic. I applied 
Waves L2 (limiter) to the master 2 buss to keep things contained, the 
levels rarely hitting zero, thus the limiting is quite scarce. All I was 
trying to do here is to add some dimension to the SBD 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 4:1 and 3:1.  

- Edits
The following are places where the SBD and AUD had splices, holes or
incomplete coverage in reference to the final matrix timeline. 

SBD:
d3t01 (0:00 - 0:06) - missing (crowd)
d3t07 (18:08 - 18:32) - left channel loses about 10db - left intact


AUD:
d3t02 (5:44:52 - 5:45:16) - dropout (used volume envelope to smooth out)
d3t03 (0:32:11 - 0:32:29) - dropout (used volume envelope to smooth out)
d3t07 (2:38 - 2:50) - missing (reel change)
d3t07 (18:48:37 - 18:48:40) - mic was bumped (used volume envelope)
d3t07 (20:28 - 22:08) - missing (crowd)
d3t08 missing (crowd and Youngbloods)
d3t10 missing (crowd and Youngbloods)

Note that alot of the missing elements from the SBD or the AUD source are 
just crowd segments except for a reel change from the Source 2 AUD, thus 
full coverage is achieved (for this portion of the show).

-Chappy
I:\>shntool len matrix/gd70-09-19/*.flac
  length     expanded size   cdr  WAVE problems filename
  25:30.41      269988476    ---   --   ---xx   gd70-09-19d3t01.flac
   6:18.12       66707468    ---   --   ---xx   gd70-09-19d3t02.flac
   5:05.64       53952572    ---   --   ---xx   gd70-09-19d3t03.flac
   1:06.42       11741228    ---   --   ---xx   gd70-09-19d3t04.flac
   1:24.27       14881148    ---   --   ---xx   gd70-09-19d3t05.flac
   1:48.03       19058300    ---   --   ---xx   gd70-09-19d3t06.flac
  22:09.50      234553244    ---   --   ---xx   gd70-09-19d3t07.flac
   2:21.03       24879500    ---   --   ---xx   gd70-09-19d3t08.flac
   0:31.17        5508428    ---   --   ---xx   gd70-09-19d3t09.flac
   1:58.74       20989292    ---   --   ---xx   gd70-09-19d3t10.flac
  68:14.33      722259656 B(totals for 10 files, 0.5541 overall compression ratio)
