and the band played as if they were reading the score.whereas this show is blazing fire from the heart, and if you listen closely, jerry's tone is so much better here, his playing is iridescent, the whole organism: ebbing, flowing and peaking. Somebody gave me a tdk sa cassette of this show in december 1977, and my copy is dilapidated, but still spinning, until i stumbled upon this matrix gem., so animated, and joyous in it's execution, w/ the loop of the audience feeding the band pure love and adrenaline, and the band responding en kind.so that it inexorably slays the spring tour orthodoxy, and makes the 5/8/77 performance sound catatonic!!! where the band was just trying to stay awake in 90 degree claustrophobic ivy league auditorium, built expressly for classical music. Were used throughout for smooth transitions to a single source. Incomplete coverage in reference to the final matrix timeline. The following are places where the SBD and AUD had splices, holes or If I had to guess the SBD/AUD ratio would be somewhere between 3:1 and 4:1. Lively but clear recording, hopefully close to how it sounded at the show. All I was trying to do here is to add someĭimension to the SBD by using the ambience of the AUD. The only dynamic processing I employed was a little bit of limiting Master pitch and time ref, the AUD was synched to the SBD (too many Were performed to keep the sources synched. It is very close though to A=440.īecause of the speed fluctuation within a given source, multiple edits I did not reference A=440 as I did notĭesire to pitch adjust the SBD. 33 (33 cents) to achieve pitch correction - 1.00 beingġ00 cents which is a semitone. The AUD on average had to be pitchedĭown about. I used the SBD as my master timelineĪnd pitch referenced the AUD to it. Goode to follow doesn't let up.īoth sources were pitched differently, the AUD being the sharpest,Īnd the SBD being the flatest. A very long and jammed out Playin' reprise ends the set atĪ fervent level, and the Johnny B. Is very intimate with Jerry crooning at the end similar to certain nights A powerful one-verse only Other Oneįollows, and then the 4th Iko-Iko ever comes out of Drums. With another on 11-5-79 and then not again until the famous night at Nassau Then, to top it off, they transition into Estimated, with Jerry sort of Of the show: Eyes of the World - simply the most rockin' I have heard. The Playin' in theīand is very exploratory building to a crescendo that segues into the gem Played in over a year and is one of two played in '77. This level of hilarity is indicative of the playing to follow: loose, Phil to introduce the band as the "Jones Gang" at the start of the second The Let It Grow to end the first set is both out there and raging, This is also reflected in the setlist which has some noteworthy aspects. Take chances musically, knowing they can falter at any moment but alsoĬollectively discover something around the bend never before seen or heard. This show, albeit sloppy at points, epitomizes the ability of the band to
Though the venue was basically an ice rink with steel walls. Recording, and the SBD is balanced with everyone in the mix and Keithįeatured prominently throughout. Into editing a matrix of this weird and powerful night at Colgate U.ĭuring their homecoming weekend. Given the two sources available on the Llama, I decided to put the effort
WAV > Vegas 5 (matrix) > WAV > CD Wave > FLAC Frontend > FLAC 16 (level 8) AUD: MAC: Sony ECM 33Ps > Sony TC-158 > CDR (shn ID #15208)īoth sources were shn files downloaded from LMA and converted to
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