Grateful Dead<br /> 09/23/1976<br /> Cameron Indoor Stadium<br /> Duke University <br /> Durham, NC<br /> <br /> This is a restored version of shnid=14687. It did not involve an upgrade in the source material. <br /> A short portion contains a transfer from an open reel tape I received in trade in 1977 (unknown generations). <br /> <br /> Thanks to Germain for access to the shn set and for patience in this 18-month project.<br /> --------------------------------------------------------------------------------------------<br /> <br /> Original notes from shnid 14687:<br /> SBD: Cm-&gt; C-&gt; Cx2-&gt; DAT-&gt; CDR-&gt;EAC-&gt;SHN-&gt;TLH-&gt;Flac<br /> Aud patch sources: AUD: Cm-&gt;?-&gt; C-&gt; DAT-&gt; CDR<br /> <br /> This show is not in the greatest aural shape, but is a worthy listen nonetheless. <br /> A fair amount of tape hiss is present. Higher frequencies are somewhat attenuated. <br /> You've been warned.<br /> <br /> d1t08: Cut at the beginning<br /> d2t01: missing beginning notes, 1 sec tape stretch at 1:59 <br /> d2t05: Aud starts at the end of Eyes (at 11:12)<br /> d2t06: portion from beginning til about 1:28 is badly mangled/missing<br /> d3t04: AUD starts at about 6:41 and continues through the rest of the show<br /> d3t05: 1 sec dropout at 12:03<br /> DAE and shn encoding done by D.Backus<br /> Contact info: marthanjerry@prexar.com<br /> <br /> Another Porky Prime Cut from Terrapin Satation!!<br /> ________________________________________________________________________________________________________________<br /> <br /> --Set 1--<br /> 101-d1t01 - Mississippi Half-Step Uptown Toodeloo<br /> 102-d1t02 - New Minglewood Blues<br /> 103-d1t03 - Ramble on Rose<br /> 104-d1t04 - Cassidy<br /> 105-d1t05 - Brown Eyed Women<br /> 106-d1t06 - Lazy Lightning -&gt; <br /> 107-d1t07 - Supplication<br /> 108-d1t08 - /Crazy Fingers -&gt; <br /> 109-d1t09 - El Paso<br /> 110-d1t10 - It Must Have Been The Roses<br /> 111-d1t11 - The Music Never Stopped <br /> <br /> --Set 2--<br /> 201-d2t01 - /Help on the Way -&gt; <br /> 202-d2t02 - Slipknot! -&gt;<br /> 203-d2t03 - Franklin's Tower -&gt;<br /> 204-d2t04 - Looks Like Rain<br /> 205-d2t05 - Eyes of the World <br /> 206-d2t06 - Samson &amp; Delilah<br /> 207-d3t01 - High Time<br /> 208-d3t02 - Dancing in the Streets -&gt;<br /> 209-d3t03 - Wharf Rat -&gt;<br /> 210-d3t04 - The Other/ One -&gt; <br /> 211-d3t05 - Morning Dew <br /> ________________________________________________________________________________________________________________<br /> <br /> Notes to the above (by Dan McDonald (droncit@yahoo.com), December, 2011):<br /> <br /> Along the way I found that this was apparently a mono tape, with all the occasional stereo-sounding deviations <br /> being problems in azimuth alignment or other issues from different recorders used in making the different <br /> analog generations.<br /> <br /> David Lemieux wrote in an email on 12/7/2011:<br /> &quot;Alas, there is no tape of that show in the vault in any format. We have everything on that starting the next <br /> night at W&amp;M, but no Duke.&quot; He also indicated that this is not a soundboard tape, but most likely some sort of <br /> feed from the PA system, hence the mono nature of the material. I use pa as the designation. <br /> <br /> Some portions of the orginal source are of higher generation than others (and clearly different from what is <br /> indicated in the original info file), most likely due to analog editing back in 1976 or 1977, so hiss and muddy <br /> sound will vary a bit. There is still hiss and noise, but I think this should be a better listening experience <br /> than the original. <br /> ---------------------------------------------------------------------------------------------------------<br /> <br /> Edits, Modifications:<br /> <br /> d1t01: cut opening dead space (several seconds; added a 2-second fade-in to the audience<br /> d1t04: trimmed dead space during audience portion (about 6 seconds)<br /> d1t05: gain change on left channel to match right channel<br /> d1t07: cut about 4 seconds of dead space, short (1 second) fade out added.<br /> d1t08: left blank space in because of the cut in Crazy Fingers<br /> d1t09: muted tape recorder start/stops, left blank spot in (5 seconds) at end of track<br /> d1t10: muted tape recorder squeak and short (1 second) fade out<br /> d1t11: faded out the audience at end (2 second fade)<br /> d2t01: increased gain for left channel, first 17.5 seconds.Linear change from 7.37dB to 0dB over the period.<br /> interpolated digi-snit at <br /> d2t05-06: changed the entire sequenece (Eyes-&gt; Samson) from the shn version to my tape transfer because <br /> the tape had audience and unmangled soundboard instead of the mangled/missing part referred to above. <br /> I did a cross-fade from the soundboard to the audience, but a butt cut from audience to soundboard because <br /> there was not overlap. These portions of my tape sounded too slow so I increased the speed of my transferred <br /> tape by 2%, and increased Sampson by 1.5%.<br /> d2t06: eliminated tape startup sound at beginning of soundboard portion of Sampson &amp; Delilah<br /> d3t01: eliminated a small section of silence, and faded out High Time<br /> d3t04-05: left the original shnid version of the audience because I thought it sounded better, but edited <br /> slightly because of repeated notes and because of the restoration process performed on the soundboard.<br /> There were also multiple gain changes to balance out left and right channels.<br /> <br /> --------------------------------------------------------------------------------------------------------<br /> Restoration using Diamond Cut 8 Forensics 8.1:<br /> <br /> All pa portions from original shn source:<br /> Used a Multifilter to minimize artifacts and quantization errors:<br /> 30-band Graphic EQ with emphasis on the high notes, Virtual Valve in high noise mode generating sweet spectrum <br /> harmonics, one subharmonic generator set at 60 Hz and sub level 6,<br /> EZ enhancer set to boost midrange and treble, exciter set at 31, one continuous noise filter in normal mode, <br /> with attach at 125 and release at 198, attenuation at 18 (sampled from tape noise sections), and one continuous<br /> noise filter in normal mode artifact suppression with artifacts at 386 and attenuation at 58 (also sampled from <br /> tape noise).<br /> <br /> All audience portions were given a multifilter with two paragraphic equalizers; one to reduce the overall bassy <br /> sound (set to lower 60 hz by 10 dB) and one to increase overall upper frequencies, then a channel blender set <br /> to 'blend to mono' below125 Hz to reduce any handheld mic noise.<br /> <br /> Some portions also received additional treble boost or noise reduction because of several generation differences<br /> between the opening songs and the last portion as well as the Sampson &amp; Delilah editing. Boosting the highs of <br /> the pa portions also revealed a great deal of background noise (machine noise, buzz and a number of other sounds)<br /> at about 3700-6500 Hz, so I tried to remove the noise while leaving the music as intact as possible. <br /> Unfortunately,this is also the range where what was left of the high end also remained.<br /> <br /> For these areas, the noise levels were sometimes louder than the signal levels, a continuous noise filter in <br /> spectral subtraction mode was applied wherever the noise made the music unlistenable (notably, &quot;High Time&quot;). <br /> Whenever treble boost was needed to bring out cymbals or other aspects, I used the 30-band equalizer.<br /> <br /> The noise filters were necessary because of the hiss present, which was increased tremendously by boosting <br /> the highs. <br />

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