OMG: https://archive.org/details/gd1970-05-06.sbd.gmb.95816.flac16
I may have to dip into my herbal medicine tonight and do a bit of time traveling.
Thanks!
Surely to be a dead head you should have started with Dick's picks nearly 20 years earlier?
About 14 years ago.... it took me a long time to get over the CDs only.
And then my drives turned to 75 miles, on way, so....
But, lemme see, I got turned on the Dead sometime in the mid 70s, after Hawai'ian Country and Elton John. I'm a relative youngster, you see...
I had a great weekend set up in '80. An older "lady" coworker, she was 23, full time... I was an intern.
She had a shag van and a cute butt and invited me for a whole weekend out in Spokane with her... she had two tickets for a Dead Show... did I want to go with her?
Duh... Scooby Doobie You Betcha I wanted to go.
Unfortunately, Mount St. Helens had other plans that Thursday.
The Dead are truly Cosmic.
I'm amazed by the quantity and quality of the GD music on youtube. I don't know to the extent some of this stuff has been processed by modern software but it's a far cry from the cassettes from back in the day. The whole cassette, vinyl, debate for me, is no longer relevant (sorry don't want to hijack the thread).
I mean, how can you not love a band that used huge racks of McIntosh tube amps? I'm a big old fan - once saw them on three consecutive shows, Omaha, Minneapolis, Madison. Very nice. Saw them at the Hollywood bowl - was that 71? One favorite recording is the Barton Hall tape. Play it very loud. Have lots of speakers.
Ahh excellent, and is a unique process of learning how to control pick attacks and note bursts that trigger the envelope.
It can be a frustrating effect for many. Since they just want it to magical work. Not realize there is learning curve and you
have to adapt your playing to make the trigger work smoothly, and control when you want it with note attack.
Defiantly a good learning experience as a player to create rolling single note melodies,
also rabbit hole for electronics guy's, yes. You start playing with filters and learning
the circuits to get the initial gate or trigger. And adapt it to be useful.
Good discussion, Maybe if others dont know. Probably toss in the example of Jerry
and his triggered envelope filter magic. (aka)- Mu-Tron III Mike Beigal / Musitronics Corporation
Exactly and "Estimated Prophet" probably quickest way to reference a song to it.
With envelope filtered guitar Melodies from Jerry
Maybe another suggestion for @StevenCrook
Yep and ironically what got me
Seems they were just hittin it around 77
5/8/77 at Barton Hall
Has fun version of Scarlet Begonias / Fire on the Mountain
5/22/77 at Pembroke Pines
Good version of Estimated Prophet
I remember that with the PLL based guitar synth I tried to take on. Had to move your picking hand to be in the center of whatever string you plucked, which depended on where you were fretting. Otherwise it'd too often go after a harmonic of the note.
Unfortunately for me at the time, I wasnt up to getting a hex pickup and building the circuit out X6, though it would have worked a lot better, with the limits of each oscillator being set to the open and highest note of each string. Instead of trying to do the whole guitar's range with just one oscillator, which left it way more unruly regarding note capture.
I tried to solve that by putting a VCF ahead of the PLL, tuned to the same frequency as the oscillator. Counting on probability that the next note played would be within the filter bandwidth. You can imagine how well that worked. Then I tried VC_Q_ on that filter, so it'd go wideband at low input, then snap to the VCO frequency on louder notes.
Anyway, my envelope filter didnt drive a trigger, like an edge changes state which "triggers" an ADSR envelope. The frequency of the bandpass was directly tied to the amplitude of the incoming guitar signal; all quiet picking was muffed. I used the same principle on my attempt at guitar synth, where the synth oscillator's filter and VCA simply followed the envelope of the guitar input. Sounded about right on the occasion when it captured the note successfully, but most of the time is just wasnt "musical"; when I added portamento by slowing the oscillator's capture time, that wasnt musical either.
I'm pretty sure FZ had the wah frequency controlled by both a pedal and the envelope - of course going either way from the pedal set "quiescent" frequency - being pushed up or down by the envelope. I remember I could invert mine to have it go down in frequency, pushed by the envelope signal.
I once had one of those Mutron devices. I'm pretty sure I put it ahead of a Big Muff Pi and got it to sweep up and then "stick" on the note on the way down, for an infinite sustain type of effect. Did it with multiple notes too. Never got mine to do that.
Never listened to them much. I’m a prog guy but when In the Dark came out in 1987 (I was 25) I bought my first GD album. I love that whole album. Ton’s of Steel is amazing and so is Throwing Stones but there’s not a bad track on that album from my perspective.
I do wonder sometimes if hard core GD fans look at In the Dark the way hardcore Yes fans look at 90125 or hardcore Genesis fans look at Abacab.
I also bought Working Man’s Dead and American Beauty. They don’t reach me as much but I played a bit of Terrapin Station and I like that for sure.
Soooo a bit late but looking forward to the party and they are a group of brilliant musicians. I have seen interviews with Phil Lesh where he is trying to save and get more exposure to obscure classical music like Vaughn Williams and others. Pretty cool and I think they all are.
Maybe Jr. Deadhead and for TonyEE, yeah, Box of Rain is a great song.
I do wonder sometimes if hard core GD fans look at In the Dark the way hardcore Yes fans look at 90125 or hardcore Genesis fans look at Abacab.
I also bought Working Man’s Dead and American Beauty. They don’t reach me as much but I played a bit of Terrapin Station and I like that for sure.
Soooo a bit late but looking forward to the party and they are a group of brilliant musicians. I have seen interviews with Phil Lesh where he is trying to save and get more exposure to obscure classical music like Vaughn Williams and others. Pretty cool and I think they all are.
Maybe Jr. Deadhead and for TonyEE, yeah, Box of Rain is a great song.
^The studio albums are nice, but the real music comes through in their live recordings.
Terrapin Station is a fun album for sure. I spent a big chunk of Summer '80 listening to it.
I'm too young to be a "real" Dead Head. I think the likes of Nelson are at the trailing end of the first gen. Besides I spent a big chunk of the 70s on Hawai'ian Time. The Mainland music was drowned by the ukuleles, acoustic guitars and the softly bubbling of water cooling the pakalolo.
Terrapin Station is a fun album for sure. I spent a big chunk of Summer '80 listening to it.
I'm too young to be a "real" Dead Head. I think the likes of Nelson are at the trailing end of the first gen. Besides I spent a big chunk of the 70s on Hawai'ian Time. The Mainland music was drowned by the ukuleles, acoustic guitars and the softly bubbling of water cooling the pakalolo.
Lucky you - I spent a big chunk in western NY state. Blizzards. Snow up to the pole crossarms. But I got to see the Dead at Barton hall - with that guarantee - at the time I didnt even realize what level of them I was witnessing.
Random GD @ BH recording preservation question. The one I have is from the soundboard. There's a section where the tape must have come off contact with the head, where a fan lovingly spliced in an audience recording; then back again when the soundboard recording came back on line. Do all GD @ BH 77 recordings do this? Or does someone somewhere have a second soundboard based...
I probably shouldn't admit all this (I have some local DIYAudio friends), but...
I've been listening to the Dead since the early to mid-70s, and at times was pretty hard-core BUT...I never saw a show. I never really had the money, nor the time. But I knew the music better than many of the show-goers of my peers. Listened, as a Midd Prankster (no, not the originals...) on a regular basis to someone's LOUD system blaring from their college dorm room while we practiced Ultimate Frisbee in the late 70s and early 80s. So am I a dead head? Probably not. I finally saw Dead and Company this past summer, but by then it was only Bobby W and Mickey H who were on the ticket. Ah well.
I've been listening to the Dead since the early to mid-70s, and at times was pretty hard-core BUT...I never saw a show. I never really had the money, nor the time. But I knew the music better than many of the show-goers of my peers. Listened, as a Midd Prankster (no, not the originals...) on a regular basis to someone's LOUD system blaring from their college dorm room while we practiced Ultimate Frisbee in the late 70s and early 80s. So am I a dead head? Probably not. I finally saw Dead and Company this past summer, but by then it was only Bobby W and Mickey H who were on the ticket. Ah well.
We didnt have much money either.
The Dead usually started, then finished tours near or at Shoreline. Bill Grahams venue in the Bay Area.
So we always went to the parking lot regardless. Since the parking lot was often more fun and full of goodies.
Never got a miracle ticket. But many of the girls I went to high school with got them.
The story goes Bill Graham wanted the venue outline to look like like a Steal your Face logo.
Regardless when on tour we knew they would come into town at least twice.
The Dead usually started, then finished tours near or at Shoreline. Bill Grahams venue in the Bay Area.
So we always went to the parking lot regardless. Since the parking lot was often more fun and full of goodies.
Never got a miracle ticket. But many of the girls I went to high school with got them.
The story goes Bill Graham wanted the venue outline to look like like a Steal your Face logo.
Regardless when on tour we knew they would come into town at least twice.