Grateful Dead 05.23.1982 Berkeley, CA Complete MTX

Grateful Dead May 23, 1982
Greek Theatre, University of California - Berkeley, CA

Set 1:
d1t01 - Tuning
d1t02 - Shakedown Street ~
d1t03 - Promised Land
d1t04 - They Love Each Other
d1t05 - Mama Tried ~
d1t06 - Mexicali Blues
d1t07 - Loser ~
d1t08 - Little Red Rooster
d1t09 - Ramble On Rose
d1t10 - Let It Grow

Set 2:
d2t01 - Scarlet Begonias ~
d2t02 - Fire On The Mountain
d2t03 - Samson And Delilah
d2t04 - Ship Of Fools
d2t05 - Estimated Prophet ~
d2t06 - Eyes Of The World ~
d2t07 - Drums* ~
d3t01 - Space* ~
d3t02 - The Other One ~
d3t03 - Stella Blue ~
d3t04 - I Need A Miracle ~
d3t05 - Casey Jones

E:
d3t06 - (I Can't Get No) Satisfaction ~
d3t07 - Brokedown Palace


*with Harley Davidson Motorcycle

Jerry Garcia - Lead Guitar, Vocals
Mickey Hart - Drums
Bill Kreutzmann - Drums
Phil Lesh - Electric Bass, Vocals
Brent Mydland - Keyboards, Vocals
Bob Weir - Rhythm Guitar, Vocals


Matrix
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SBD (shnid=96332):

Recording Info:
SBD ~ Cassette Master (Sony TC-D5M) ~ Dat ~ CD

Transfer Info:
CD ~ Samplitude Professional v10.1 ~ FLAC

All Transfers and Mastering By Charlie Miller
December 10, 2008

[1 minute cut in Estimated, and some of Drums~Space]

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AUD (shnid=101955):

2 Nakamichi CM 300 mics ~ SONY TC D-5m(Dolby B)(TDK AD-X 90 set 1)(Maxell UDXLII-S, MX 90 set 2)

Plybck: Nakamichi Dragon (Dolby B decoded) ~ Apple G4(RME DIGI PAD 96 A/D conversion 44.1k)(PEAK editing) ~ Xact

Short flip or tape change cuts at the beginnings of:
Little Red Rooster @ 04.866 sec.
Eyes of the World @ 09.722 sec.
Stella Blue @ 11.902 sec.
Casey Jones @ 05.253 sec.

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Thank you to Charlie Miller for the SBD transfer,
and to musigny23 for recording the show.

Matrix by Hunter Seamons using Final Cut Pro (FLAC~AIFF~Final Cut~WAV~FLAC)
October 20, 2009

Notes:

1) From Drums~Space through the end of the show, over fifty (50) minuscule dropouts occur in the soundboard, more frequently in Other One and Miracle. Because of the very minuscule time frame of some of these, I was able to smooth over them without fading out the SBD (by adjusting speeds or making very small cuts/additions). Most of them, however, required me to fade out the SBD for less than a second, usually. Most of these moments are pretty smooth sounding and not real noticeable, but some can be slightly distracting because of the quick, AUD-only transition.

2) The original AUD tape cuts were preserved when only the AUD plays (between songs), instead of being smoothed out, or cross-faded. Sometimes I prefer this.

3) A quick shift in the SBD mix occurs at 0;44 and 0;53 of Other One, where it cuts to a more "distant" sound for a moment, then comes back.



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