I love the Dead, but the recorded material isn't exactly reference. Good for what it is, but there's no way you can imagine Jerry in the living room or yourself in the hall. "Reckoning" might be the best of the bunch, soundwise.
Probably not. I only saw them a dozen times or so and was never impressed with the live sound.
Despite being dubbed from a cassette, The Pizza Tapes sounds very nice in comparison.
Despite being dubbed from a cassette, The Pizza Tapes sounds very nice in comparison.
The GD even had special seating for those in the audience who wished to record their concerts. Talk about great bootlegs! Unless it comes off the PA console, it doesn't get any better than that. Regards
BTW I once took a stereo Stellavox and two Neumann KM84s and recorded one of their concerts. Regards
Wish I had known someone who could have obtained access for me, but , alas, I was just starting out in public radio and did not know anybody in the touring sound business. Regards
Recorded several GD shows in 1979 with Nagra 4S and SM-69 mic, gave equipment to soundman and picked it up after entering. No special taping area, just a boom at seats in the middle. Lot of reel changes at 15 ips. Recordings from sound board feed don't get the room sound.
I used to make my own master tapes from the board with my Ampex 15 ips 1/2 tr recorder. Unfortunately, the tapes were all lost about 20 years ago, in a firestorm.
"Winterland"I hated the result, still prefer my old EMI CD's (pre Hendrix Family LLC) hum, dropouts, and all.
Amen to that!
It's the little things that make recording so interesting. For example, on my "Best of The Animals" LP and CD, in the piece "Sky Pilot", recorded by some home tape machine, probably in a hotel room, you can hear the drummer's pedal squeaking. It's not loud, it's not deconcentrating, but rather it adds some reality to the piece.
Some of Bob Dylan's early work was recorded on a machine with damn worn out heads, almost no treble at all, no JC or SY to help out - but the music is still great.
I think such disturbances are in at least some proportion with the recorded artist and one's regard for him or her - the better the artist, the less intrusive such details.
I'll say!
Nothing comes close to a live performance, no matter how good it may be technically.
And since I don't have 1 kW, I would have taken the whole band to my home for a lunch, say Serbian beans.
Better than LSD, I guarantee they would remember that for the rest of their lives. I'm that good at it.
- What is it dear? You were screaming in your sleep again.
- I... I... the beans. Oh my God - The Beans!!!!
- There, there, dear - that was 30 years ago. You're quite safe now.
😀 😀 😀
Kid all you want to, Godfrey, but whoever tries them, DOES remember them for a long, long time.
They are NOTHING like the stuff from Heinz cans. No less than 3 types of meat in them, of which two must be smoked beforehand. Lots of carrot, onions and some paprika (not hot). No less than 6 hours on the stove, as slow as you can manage it.
Way back, while we were (dad, mom and I) in Ankara, our best "customers" were the Brits, winning hands down, and followed by the Americans. Both are grossly misrepresented, in my view. The Brits are the next best thing after ideal guests - exceptionally tolerant, they take their time about it, they don't stuff themselves. Americans, as opposed to the idiot stereotype, may not have much of a cuisine (also untrue, but that's another story), but they sure as hell know to recognize good food when they are served some. And unlike many others, they are always willing to try something new, with extremely few exceptions.
Of course, after one of mom's lunches or dinners, everybody knew the Brits wouldn't be coming to work the next day, too preoccupied with ice on the forehead and Alka Seltzer in their tummies, but, to their credit, they NEVER failed to turn up again.
Americans seem made of sturdier stuff, they could take it without casualties.
Which makes both a host's Dream Team guests.
Germans and Austrians not counted, they are practically locals, they can take anything in their stride. And what with the number of Serbian restaurants in both countries, chances are they are already well versed.
Well, what I try for in designing audio is to get as close to the 'live' experience as possible. It hasn't been possible to do so yet, in my experience, (and others) with IC's.
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Wow, I had the opposite experience. I was very active attending live shows in the '72-'78 time frame, and thought the Dead sound, and show, was one of the best live experiences for me. My reference was the Dead East Coast tour of '74 when they still had the huge sound system, done by Owlsey Stanley if I recall right. Bear took rock band live music reproduction seriously, and many credit him for taking it from house PA systems what it is today.
But he usually gets credit for other stuff. Owsley Stanley - Wikipedia, the free encyclopedia
Don't get me wrong, the shows were great- I wouldn't have gone to a dozen if they weren't! Last one I saw was in LA, not long before Jerry died. I'll also admit that I have never liked the sound at any large-venue rock show, so I'm not singling out the Dead.
While you know I agree with that, John, truth be told ICs are evolving fast - real fast.
Just take a look at today's typical offerings and compare them with just 20 years ago - way advanced today.
It's products like THAT transistor arrays which take the middle ground - they are not discrete, yet not classic op amps either. When we try them out, and I know we WILL try them out, we may conclude that they are anything from junk to a godsend. My gut feeling is that we will probably like them, so long as we are aware of their limitations, which don't appear to be many.
Imagine the advantages of building a fully complementary ciruit, using their dual NPN and PNP devices - both sides of your device are thermally coupled, reasonably though not stunningly matched both to their polar partner and the other pole pair. I see that as a possibly very significant advantage.
However, as ever, the proof is in the pudding.
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