Tracks
U.S. Blues [6:16]
Playing In the Band --> [14:11] |
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Liner Notes:The Wall of Sound was a staging design devised at a time the band wanted to move to large venues and not have to rely on renting extra PA gear from local sound companies to do it. I told them before we bagan I was sure it could be done, the technology was available, but I was also sure they would not like it once they were locked into using it. We set up the various instruments' speakers (full range, single element) in high columns (line arrays) across the back of the stage, with a central, large full range vocal cluster and a second smaller cluster for the piano. It was the first successful use of line arrays in a large-scale sound reproduction. All of our lines were mounted tightly together as a single unbroken wall. Modern "line arrays," although popular at the moment, do not work like this system did, because they are hung in isolation as two single, separated, multi-element line arrays. This arrangement will not radiate a cylindrical wave. Our only multi-element arrays were multiple-line clusters. The Wall was just that: a radiating wall. The entire surface was working, the lines and clusters combining to produce a kind of sound no modern system can duplicate. We developed a differential vocal mic, using a pair of Bruel and Kjaer instrumentation microphones. This mic design caused a loss of low frequencies in the voice, but it did limit spill quite nicely. Further development of the differential design might have eliminated the low frequency loss. Each musician had control of the levels of his instrument, and each could adjust their own vocal level. It was a system which needed no soundman. I had a lot of help in realizing this system. Ron Wickersham, John Curl, John Meyer, who was with McCune sound at the time, and Bob Matthews, Dan Healy and virtually everyone in the crew had some part in constructing this monster. Sparky Raizene built the large vocal cluster cabinet of wood and I built the smaller piano cluster of honeycomb. This was arguably the best large venue system for amplified music ever built. It required a small army of workers to handle it. We had three complete staging rigs and crews, one was being town down, one was being erected and one was in use at any given time during the tour. Cheers, Bear 12/15/01
CAVEAT EMPTOR Dick's Picks Vol. 24 was mastered from the original 2 track analog source tapes recorded at 7.5 IPS. Some minor sonic anomalies remain, but as much as is humanly and mechanically possible has been done to make this recording as good as it can be. Enjoy. |
Credits:Grateful Dead Jerry Garcia: Lead Guitar, Vocals Live Recording: Bill Candelario
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