Lineage:

Betty Board Portion -- Master 7" Nagra reels 1/2 track @ 7.5ips>Sony PCM 501. Playback on Sony PCM 701>DAT (Digital Transfer) -- Rob Eaton DBX Decoding (Spring '99) Playback on Panasonic 4100 DAT>DB 924 D/A>Dolby 361's w/dbx K9-22 Cards>DB 124 A/D>Neve Capricorn (Digital mixing console)>DB 300S>Panasonic 4100 DAT>DAT>Digi Coax Cable>Tascam CD-RW 700>CDR (x1)>SHN (Rob Eaton remaster)

Audience Portion -- Steve Maizner's Sony ECM-990>Sony TC-152 aud master>First Gen Reel>played directly to hard drive.  The excellent aud splices were normalized and patched using ProTools by Karen Hicks 


Disk 1: 

Set I 

1. Minglewood Blues -> (AUD splice provides beginning of track) 
2. Loser 
3. El Paso 
4. They Love Each Other 
5. Jack Straw 
6. Deal 
7. Lazy Lightning -> Supplication (Aud Splice during transition)
8. Brown Eyed Women 
9. Mama Tried 

Disk 2: 

Set I (continued) 

1. Row Jimmy 
2. Dancin' In The Streets 

Set II 

3. Take A Step Back/Tuning 
4. Scarlet Begonias-> Fire On The Mountain 

Disk 3: 

Set II (continued): 

1. Estimated Prophet 
2. Tuning/Dead Air 
3. Saint Stephen-> 
4. Not Fade Away-> 
5. Saint Stephen-> 
6. Morning Dew 
7. Encore: Saturday Night 





Culled from a May 6, 1999 post by Rob Eaton to dnc --

I recently re-decoded 5/5/77 and 5/8/77. I went into Right Track Studios in NYC (my home base studio ) set up in studio B (which is the premier state of the art Digital Music Studio in world). I had clean dat copies (provided by Tim Daulton) that were NOT decoded. I set up a chain consisting of: Panasonic Sv4100 AES out-->DB Technologies 924AD (24bit/96k capability)-->Dolby 361 Modules w/DBX K9-22 cards-->Neve Capricorn 32bit point processing/full 24bit Digital Console-->DB Technologies 122s 24bit/16bit conversion and 44.1k/48k sample rate conversion-->Panasonic Sv4100 Dat AES in. This is State of the Art Tchnology, getting as much of the music that was on the tapes as possible. The thing about DBX that nobody else got is that in order to decode it properly the volume into the decoder has to be exact, otherwise the tapes can be to bass heavy or to bright and compressed. These tapes are absoultly the best possible reproductions of the dig tapes made from the masters (I only wish I had the actual reels so I could do a proper azimuth adjustment on them). 

Seeded to etree by darrin (dnsacks@usa.net) august 2001