Grateful Dead 2/18/71 Capitol Theatre, Port Chester, NY Source: SBD Lineage: SBD > Dolby A Reel > Dolby A decode > DAT > Sound Forge NR > CD-R This copy via Leigh Orf, who attenuated the whine on the original source: "The Sound Forge noise reduction was used to attenuate a very narrow frequency band (in the vicinity of 8000 Hz) which was present as interference on the original reels. See my notes below for details." Disc 1 Set 1 1. Bertha 7:13 2. Truckin' 11:02 3. It Hurts Me Too 7:41 4. Loser 8:20 5. Greatest Story Ever Told > 3:51 6. Johnny B. Goode 3:39 7. Mama Tried 3:29 8. Hard To Handle 8:00 Total time: 53:20 Disc 2 Set 1, cont. 1. Dark Star > 7:03 2. Wharf Rat > 7:20 3. Dark Star > 7:13 4. Me And My Uncle 4:04 Set 2 5. Lucky Lager Dance Time 2:39 6. Casey Jones 6:10 7. Playing In The Band 7:23 8. Me And Bobby McGee 6:08 Total time: 48:03 Disc 3 Set 2, cont. 1. Candyman 9:46 2. Big Boss Man 5:39 3. Sugar Magnolia 8:29 4. St. Stephen > 5:56 5. Not Fade Away > 4:33 6. Goin' Down The Road Feeling Bad > 5:01 7. Not Fade Away 3:58 8. Uncle John's Band 6:43 Total time: 50:09 Notes: These are the first performances of Bertha, Loser, Greatest Story Ever Told, Johnny B. Goode, and Wharf Rat. Leigh Orf's notes on the noise reduction: "The original reels of the Port Chester run of '71 were audibly tainted due to a cable problem. The result is a tone which hovers around 8000 Hz with an amplitude of about +20 dB above the noise floor. This translate to a very annoying pitch, especially during quiet sections, which is in the old-tv-tube or lousy-hard-disk or maybe even the-sound-you-hear-after-you-slam-your-head-against-a-concrete-wall class of 'whine'. Because this interference is 'monochromatic' it's easy to get rid of if you have the processing power and a quick FFT algorithm. I used the filter-shaping capabilities of the Sonic Foundry Noise Reduction Plugin to tailor a very narrow notch filter which attenuated the interference without affecting the rest of the signal. And it's all done in the digital domain. Huzzah! As a side note, I actually ended up crafting many filters to process these shows. The frequency of the interference actually drifted anywhere from 7700 to 8100 Hz during a given show. This was probalby due to a slightly wandering reel speed. It made my work harder but when I tried a much wider filter I started to be able to hear the attenuation in the music. The filters generally go like this: 25 dB /- - - - - - - -\ / \ / \ 0 dB | | 7830 7900 7970 The end result is no more annoying whine! I also removed some of the nasty mic feedback in the 2/18/71 Bertha using this type of filter. Leigh Orf "