Jam – 2013-08-14 – Carroll’s

ds130814With Alan’s birthday passing us by this week, it was his turn to step up to the plate and suggest the songs to be played for the night. Instead of winging it during the jam, Alan pulled a great show and setlist out of the air and announced it was the show to be played on this Wednesday of Deadstein. The January 10, 1979 Nassau Coliseum show he selected was a very famous show in the annals of the Grateful Dead in that they played an unexpected Dark Star and Saint Stephen in the second set. I guess the fact they the Grateful Dead did both the Dark Star and Stephen at the New Year’s show and the Winterland 10 days prior could have been a clue, but I guess for those in attendance, it was a great surprise.

I know Scott went to that show, because he scanned what he believe is his stub from that night. I also assume Alan went and I have a feeling Rich also attended. For the rest of us, 1/10/79 was just another great date that bubbles to the top in the lore of the Grateful Dead. As we discussed during the jam, this was the ending of Donna’s tenure with the Grateful Dead as her 2/17/79 show would prove to be her last. In any case, the song selection proved to work out for our Donna in that most of the good beefy Donna songs happened just before the Dark Star in the second set. This gave a good early out for Donna as Deadstein would head down the spacy path that the Dark Star pointed to.

As I did last week, this week I lugged my multi-track taping setup to the jam in an effort to get a good recording. This week’s soundboard was different than last weeks and finding the insert’s second in-between click position to capture the signal of the vocal and Piano mics was difficult if not impossible to rely on. No matter what I did, my 1/4″ jacks would ease their way out of the position I tried to lock them into. My work around for tracks 1-8 was to use the post-fader direct outs for each channel rather than the more desirable pre-fader insert-out. My other isue with this board was the fact that it only had 8 true channels, while the remaining 16 channels were hybrids stereo channels that provided no insert outs and or direct outs to tap into. Fortunately for me, I decided to bring my 8-channel Behringer digital mic pre-amp which accepted 8 microphone tracks while forwarding the signal of each track to the Mackie MDR-24 recorder using optical ADAT cables. This initially caused a problem until I figured out how to sync the 8-mic pres to the recorder. Hopefully all these channels were recorded properly without and digital artifacts, because if there are any, the recording will be toast and we didn’t a back-up recording just in case. Another change from last week was the fact that we captured Kevin’s bass using a DI box, instead of trying to mic and capture the combination of his two amplifiers. We also did this without any back-up in case there was an issue with the DI. If we failed to capture Kevin’s bass, the recording will be bread and not toast since there is likely to be enough bass captured in mics use for other instruments to pickup the intent of Kevin’s playing. Let’s hope we don’t have to rely on that and the signal from the DI worked.

For the first song, Promised Land, we will be able to test this theory since Kevin’s channel was unintentionally muted. Likewise, Alan’s vocal mic was also unintentionally muted for the first set. That’s what happens when you start panicking about inserts vs. direct outs just prior to beginning the jam. At least I was able to rectify this before the end of the night. Finally, the last changes from last week’s recording techniques relate to drums. This week I had a set of 3 mics on each of the 2 drummers. At some point, Lee’s clip on AKG snare mic fell to the floor, so we are going to have to see when that was attached to the snare and when it was on the floor. Probably no big deal because I had one of Scott’s Neuman’s acting as an overheads and I’m sure that will pick up the entire kit nicely. I was suspicious of Scott”s other Neuman, it was providing a very high amount of noise shown on the meters so I could trust the signal would be good. I therefore used my AT 4033 as Scott overhead while his snare had a Sennheiser 421 and his kick was captured by Scott’s Shure kick drum microphone. Enough of the recording information, we got started around 8:15, not bad considering all the setup but we had a full show to play and no time to waste so we didn’t. We kicked of the first set opener of Promised Land at 8:15 and closed out the first set closer of Music Never Stopped just before 10pm. Since Kevin had already made his halftime phone call about 3 songs prior to the end of the first set, the set-break was shorter than usual and we got going around 10:30 with the second set Shakedown opener.

I think the room had its sonic issues early in the night in that we had troubles hearing all the vocals and the piano for the first few songs. After a few more songs we got a more comfortable sound in the room but we were experiencing monitor squealing feedback on several occasions during the first set. A slight adjustment at halftime was effective in that they didn’t come back for the second set.

The dedicated setlist gave us good focus and drive and we waste no time and played with purpose. This left us with a pretty satisfying feeling. I don’t think I personally became comfortable with my guitar playing until the Passenger, when the unmitigated letting of my hair down provided for a formidable Passenger.

I really enjoyed some of the activities in the second set including the 3-song combo of I Need a Miracle, Bertha and Good Lovin’ That was a good time. The following Dark Star was one of our better ones that went all over the place. The drum solo that followed was a nice break and should be an interesting mix. Even the space had its moments.

While the Johnny B. Goode left us the 15 minutes remaining to play something additional not on the 1/10/79 setlist, we decided to call it a night at that point. There was talk of throwing in a Sailor-Saint at that juncture, but with lots of wires to clean up I think we made the right choice and just packed in in after the Johnny B Goode. Enough is enough. As far as guests we had Dr. Phil the vet and Walter. They were the two lucky ones to enjoy us. Now the hard work of mixing the recording is before me, so all I can do at this time is Freak out!.

The audio files are provided in the following folder:

First Set

Second Set


New Deadstein Release : Best Regards From Carroll’s To Carol

Hot Off The Burner!

A New CD Release From Deadstein
From Carroll’s To Carol : Spring & Summer 2008
Eight Big Performances culled from the Weekly Cellular Phonecasts.
Preparing the cellular phonecast

Preparing the cellular phonecast

Download the Tuneage Here:
1. It Takes A Lot To Laugh
2. And It Stoned Me
3. Second That Emotion
4. Thrill Is Gone
5. Dear Prudence
6. Not Fade Away
7. Uncle John’s Band
8. Quinn The Eskimo
9. Sign Off
Scott signing the CD

Scott signing the CD

Now if you want to listen to a song by streaming it, use the controls below:
It Takes A Lot To Laugh
Dear Prudence
[Audio=http://deadstein.com/audio/2008-Carol-Compilation/05 Dear Prudence 052808.mp3]
Rich reading the notes on the CD

Rich reading the notes on the CD

Quinn the Eskimo
[Audio=http://deadstein.com/audio/2008-Carol-Compilation/08 Quinn The Eskimo 073008.mp3]

Rich signing the CD

Rich signing the CD

Jam 2008-09-10 at Carroll’s

The 24-Track Mackie returns after a long hiatus for this jam.

The 24-Track Mackie returns after a long hiatus for this jam.

This week it is Wednesday and for the first time in a long time I am bringing in my Mackie 24-track multitrack recorder to hopefully capture some hot Deadstein moments that I can remix into something really good.  I hope it all goes well and it’s gonna be a driving night for me trying to carry all this crap, getting it set up, jamming and taken down.  Post jam comments coming up later.

It was mentally a stressful jam for me. I was so intent on recording that I had to get home after work, load the equipment bag, though it was preloaded for the most part, and get the Mackie rolling, 24 tracks to roll-no more.  Here Comes Deadstein.  Here Comes Deadstein.

Results of the Multi-Track recording are provided below.  In addition, Rich has uploaded his track recordings from his new Tascam 2-track all-in-one recorder.  Thanks to Rich for doing that as always.

Those files are provided at:


Now for the great quality multitrack stuff, the folder is located at:
http://deadstein.com/audio/09-10-08-Multitrack/  or you can listen to it immediately below.  I know Kevin was a little interested in this stuff so I show a print screen of my 2 monitors containing the tracks on the right and some of the effects on the left.  I think if you click on the picture you will be able to get a closeup of the screen shot. UAD-1 DSP Effects and Reaper Digital Audio Workstation (DAW) software.  I love it.  I hope you do also.

Mixing in Reaper and Using UAD Audio Effects.

Mixing in Reaper and Using UAD Audio Effects.

01 Bertha

02 Mama Tried

03 China Doll

04 Hard To Handle

05 Beat It On Down the Line

Scott check 1-2 at the 9-10-08 Jam

Scott check 1-2 at the 9-10-08 Jam

So I was the first one in the room and lo-and-behold, they gave us the all-in-one, 8 channel mackiePA/mixer.  We had been getting the great PA system setup for the last year consistently, so I was certain we would get it this week.  It was a bummer, only 8-tracks and the bad PA to boot.  Apparently, there were a lot of 9-11 ceremonies planned for the next day and Carroll’s had all their equipment preloaded into trucks ready to roll.  Luckily, Chris was clutch and was able to get me another Mackie PA/Mixer so I had enough channel for the night.  All I had we 12 and it’s really all needed.  So I got it all set up and it worked nicely and easily.  The quality of the pre-amps and all isn’t all that important in our hideous acoustic environment, they are the least of our worries.  In addition, I have to admit the PA was adequate.  It was the larger Studio 3 instead of the standard Studio 2 we usually play in.  David Byrne had studio 2 booked with a lot of equipment.  Almost as much as me.  Just kidding, but it was quite a load to carry.

06 It Must Have Been the Roses

07 Passenger

08 Shakedown Street

09 Looks Like Rain

10 Morning Dew

If you want to see the warm up, tune up, etc to the jam it is available. I’m just not promising anything exciting.



So the recording seemed to work, the PA was there, Scott Bayer showed for the beginning and we launch into the easy opening Bertha and I didn’t feel too comfortable and or confident with the guitar in my hand. for most of the night.  The Mama Tried felt pretty solid and I was able to hold my shit together OK for the first few songs.  I think we played solidly for the majority of the night and I just wasn’t there for too much of it and able to get it out. Not to worry, it is a team game and the rest of you schmegheggies pulled me through.  And knowing that I have the band to count on also pulls me through in the tougher times.  I had some bone-head mistakes throughout the night that I’m gonna have to cut out of the mix, fortunately, I’ll be able to do so except for some of my bogus time mishaps.  That’s why there is always next week.

11 Might As Well

12 Estimated Prophet

13 Thrill Is Gone

14 Hell in a Bucket



We played lots of songs.  Did a little work on a Bucket and tried to play it a second time, but to no avail.  Jason and Kevin did some nice work on the Morning Dew pre-lead accent/descent and that part was pulled off nicely in the song itself. 

As I start to mix the music I will get a little closer to this jam and hopefully find the beauty in it.  Time will tell with it.  I think Scott stayed up and survived the entire jam and even ended with the Box of Rain to close ot the night.  Well maybe the end was hijacked a little by Jason as he broke out the Wave that Flag into I know You Rider.  It was two more songs than I wanted to do considering the take down of equipment I still had to do but thanks to Kevin’s great cord wrapping abilities we were out of there in a jiffy.

Butt-head's pedal board

Butt-heads pedal board

So I get home with the hard drive recording, pop the disk out of my Mackie and plop it into my PC , copy the files and I think I am off to the races, but no!  I get no sound.  What the fuck!  I’m telling you.  My computer decides to die on me.  Now I don’t mean software die, I mean hardware die so I got the computer booted and running but I am now scared to turn it off cause it may never come back.  In any case, I finally got the thing rebooted and was able to listen to the recording and it all sounds good with respect to the recording.  The playing the on the hand still needs to be determined.

15 Box of Rain

16 Wave the Flag

17 I Know You Rider

Now that the mixdowns I made of the night’s recordings are on the site and hopefully you have had a chance to listen to these multitrack recordings so it now leads to this weeks poll.  Judging bass levels is the most difficult thing to do since we all have greatly different speakers and listening environment.  With that said let me know what you think of the recordings from a frequency perspective.  You feedback will hopefully lead to better recordings.


Scott and his new Treo 800w

Scott and his new Treo 800w


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