Reply to this post edit] Poster: Pretty Vacant Date: Jun 9, 2010 9:35am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Monte, this is your probation officer. Could I have a word?



[Love getting all the context, thank you.] Monte, this is your probation officer. Could I have a word?[Love getting all the context, thank you.]

Reply to this post edit] Poster: snow_and_rain Date: Jun 9, 2010 7:32am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Great post man! I really appreciate the time and thought you put into these. One question: From your post I gather that you weren't taping until '71, yet I see the 4/23/69 Ark show listed under your name. That's a terrific show and one of my favorites from that era. Did you tape that one too? Great post man! I really appreciate the time and thought you put into these. One question: From your post I gather that you weren't taping until '71, yet I see the 4/23/69 Ark show listed under your name. That's a terrific show and one of my favorites from that era. Did you tape that one too?

Reply to this post edit] Poster: dead-head_Monte Date: Jun 9, 2010 8:33am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound The list of my old tapes I have linked to is a search query for myself, on The Internet Archive. I didn't start taping shows myself until June 9 & 10, 1973. The 1969 Ark show comes up on my list because I worked on the upgrade last year. Same thing for Phil's 1959 trumpet-playing jazz tapes - I upgraded this show recently for Phil's 70th b'day. The list of my old tapes I have linked to is a search query for myself, on The Internet Archive. I didn't start taping shows myself until June 9 & 10, 1973. The 1969 Ark show comes up on my list because I worked on the upgrade last year. Same thing for Phil's 1959 trumpet-playing jazz tapes - I upgraded this show recently for Phil's 70th b'day.

Reply to this post edit] Poster: snow_and_rain Date: Jun 9, 2010 9:42am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Oh I see. Well thanks for the upgrade then! That was a big contribution to a great show. Oh I see. Well thanks for the upgrade then! That was a big contribution to a great show.

Reply to this post edit] Poster: rap56 Date: Jun 10, 2011 7:47am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound PERFECT!

PERFECT!

Reply to this post edit] Poster: timewarpwiretap Date: Jan 15, 2014 11:28am Forum: GratefulDead Subject: Too much fun!!!! That's news to me.......



Great post Monte - Thanks for sharing your bliss!!! That's news to me.......Great post Monte - Thanks for sharing your bliss!!!

Reply to this post edit] Poster: tim_oz Date: Jun 9, 2010 2:39pm Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Monte! Wonderful post. A nice way to start the day with you guiding a trip back in time; drifting back to before I was born. Much appreciation and a thousand thanks for you crazy freaks who rolled tape!



On a related note I recently read the paper linked below, which discusses taping, trading, and collecting the Dead's music. I believe someone here posted about it. I found it a fascinating and insightful read - particularly the interviews with tapers. Like this post of yours, gaining some perspective on what it was like for the tapers is invaluable and adds another layer to the whole experience. And as mentioned, it is worth understanding the challenges for tapers back in the early days before an officially sanctioned taper section existed.



http://www.scribd.com/doc/26367749/Embaling-the-Grateful-Dead Monte! Wonderful post. A nice way to start the day with you guiding a trip back in time; drifting back to before I was born. Much appreciation and a thousand thanks for you crazy freaks who rolled tape!On a related note I recently read the paper linked below, which discusses taping, trading, and collecting the Dead's music. I believe someone here posted about it. I found it a fascinating and insightful read - particularly the interviews with tapers. Like this post of yours, gaining some perspective on what it was like for the tapers is invaluable and adds another layer to the whole experience. And as mentioned, it is worth understanding the challenges for tapers back in the early days before an officially sanctioned taper section existed.

Reply to this post edit] Poster: dead-head_Monte Date: Jul 17, 2011 7:44am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound We now have some Super 8 footage of the June 10, 1973 show at RFK Stadium. Filmed by Bud Styple, this silent 4-minute film clip of Grateful Dead just surfaced on YouTube a few days ago.



8mm film of Grateful Dead on June 10, 1973 We now have some Super 8 footage of the June 10, 1973 show at RFK Stadium. Filmed by Bud Styple, this silent 4-minute film clip of Grateful Dead just surfaced on YouTube a few days ago.

Reply to this post edit] Poster: clementinescaboose Date: Jun 10, 2011 9:28pm Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Wow, GRATE post monte....that was quite an interesting read. Sound and taping is always a subject I would like to learn more about, I know so little! One thing I can't imagine is handling all that audio equipment on two hits. You must be one of those "clear headed" trippers haha. Not here, that shit gets right on top of me! Wow, GRATE post monte....that was quite an interesting read. Sound and taping is always a subject I would like to learn more about, I know so little! One thing I can't imagine is handling all that audio equipment on two hits. You must be one of those "clear headed" trippers haha. Not here, that shit gets right on top of me!

Reply to this post edit] Poster: wisconsindead Date: Jun 11, 2011 9:57am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound very cool lil story. Neat to hear about the early taping days. When i was just a sparkle in my fathers drunk/stoned eyes. very cool lil story. Neat to hear about the early taping days. When i was just a sparkle in my fathers drunk/stoned eyes.

Reply to this post edit] Poster: TragicMagic Date: Jun 10, 2011 9:20am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Simply the most fascinating post I have seen yet! Thanks so much for sharing. For the past 10 minutes I was transported back in time and it was wonderful. Simply the most fascinating post I have seen yet! Thanks so much for sharing. For the past 10 minutes I was transported back in time and it was wonderful.

Reply to this post edit] Poster: micah6vs8 Date: Jun 9, 2010 7:24am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound This is a great post . One of the best . Some history and crafted with love .

I love those smiley guys @ the end This is a great post . One of the best . Some history and crafted with love .I love those smiley guys @ the end

Reply to this post edit] Poster: DeadRed1971 Date: Jun 9, 2010 3:30pm Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound I tip my hat to you:



Attachment: HPIM0443.JPG I tip my hat to you:

Reply to this post edit] Poster: Capt. Cook Date: Jun 9, 2010 4:33pm Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound I'm curious Monte, I taped a bunch of shows myself in the early 80's just for my own passion, and a lot of venues had a No-Recording-No-Taping policy no matter what the GD might desire, The Hartford Civic Center comes to mind, and so getting your equipment into the arena/hall/theatre was, even beyond the double-doses running around your head, a tricky experience. I remember seeing tapers literally duct taping their rigs to their chests, their girlfriends hiding mics in all sorts of places. Taping is a passion and not always very easy given the circumstances. Your hells angels tape #3 is a great example of getting busted by the MAN, who ever that might be. Also, I frequently taped behind the drums, off the rear PA. Did you ever tape back there?



(I was born in '62 Monte and I can remember those 8-tracks, had dozens of them, and even had a recorder myself. Old School is right... You must have a million taping stories... Great post...) I'm curious Monte, I taped a bunch of shows myself in the early 80's just for my own passion, and a lot of venues had a No-Recording-No-Taping policy no matter what the GD might desire, The Hartford Civic Center comes to mind, and so getting your equipment into the arena/hall/theatre was, even beyond the double-doses running around your head, a tricky experience. I remember seeing tapers literally duct taping their rigs to their chests, their girlfriends hiding mics in all sorts of places. Taping is a passion and not always very easy given the circumstances. Your hells angels tape #3 is a great example of getting busted by the MAN, who ever that might be. Also, I frequently taped behind the drums, off the rear PA. Did you ever tape back there?(I was born in '62 Monte and I can remember those 8-tracks, had dozens of them, and even had a recorder myself. Old School is right... You must have a million taping stories... Great post...)

Reply to this post edit] Poster: dead-head_Monte Date: Jun 10, 2010 7:03am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound No, I never taped GD behind the drums. I always taped from FOB. I taped alone, but I usually went to shows with my friends. After 1973, I was taping other bands. I was becoming a soundman and getting into electronics. I developed a stealth taping kit that was pretty reliable for fooling security. I had a cheap guitar with the back removed from it. The guitar body fit perfectly over my tape deck. I carried this taping kit around in a guitar case. I successfully snuck into dozens of clubs and venues with this rig. I would insist that "I was a muscian," and I couldn't leave my axe outside in my car. I was too lazy to install a counter-weight in the guitar case to offset the weight of my tape deck. The security detail at Carnegie Hall busted me one night in 1974. They noticed the unnatural slant of my guitar case when I entered. They busted me red-handed taping secretly. My tape was confiscated, and I was escorted out the front door. This is the only "other time" I was caught taping. No, I never taped GD behind the drums. I always taped from FOB. I taped alone, but I usually went to shows with my friends. After 1973, I was taping other bands. I was becoming a soundman and getting into electronics. I developed a stealth taping kit that was pretty reliable for fooling security. I had a cheap guitar with the back removed from it. The guitar body fit perfectly over my tape deck. I carried this taping kit around in a guitar case. I successfully snuck into dozens of clubs and venues with this rig. I would insist that "I was a muscian," and I couldn't leave my axe outside in my car. I was too lazy to install a counter-weight in the guitar case to offset the weight of my tape deck. The security detail at Carnegie Hall busted me one night in 1974. They noticed the unnatural slant of my guitar case when I entered. They busted me red-handed taping secretly. My tape was confiscated, and I was escorted out the front door. This is the only "other time" I was caught taping.

Reply to this post edit] Poster: Dudley Dead Date: Jun 9, 2010 7:36am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Thanks, great post ! Also, I think people have no idea how hard it was to tape the Dead in those days , and how much we owe to those intrepid souls ( you included ) who did the work . Thanks, great post ! Also, I think people have no idea how hard it was to tape the Dead in those days , and how much we owe to those intrepid souls ( you included ) who did the work .

Reply to this post edit] Poster: Jim F Date: Jun 9, 2010 11:50pm Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound Great post, thank you for sharing, and most of all, thanks for taping!



I've been getting so wrapped up in the flood of great "TDIH" shows lately that I totally forgot about 6/9-10/73. Instead of pulling out the sbds like I usually would, I'm going with your auds. Aside from a slight lack of drums/cymbals in the high end, these sound absolutely fantastic for a first time endeavor in 1973. And...that GAUNTLET...how you pulled that off, I have no clue. You deserve some kind of award for that.



I never liked audience recordings much until recently. I always kindof saw them as a last resort, something to listen to if no board existed for the date, or to cover patches. I would say I was probably more tolerant of more modern audience tapes, the setups some people have been using these last 10 years especially are phenomenal. But for the older stuff, I usually passed on the aud's. Only in this last year have I gained a true appreciation for them, and have actually excitedly sought them out to listen to over the boards. I think it was gaining an appreciation for a GOOD matrix that really opened the door to my new appreciation, or love even, of audience recordings. It surprises me how less rowdy a lot of crowds seemed in the 70's compared to now. Nowdays you can have a stand 12 feet up and still hear the roar of chatter during a good Stella Blue or Morning Dew. Maybe the dope back then just made people shut up and listen more lol.



Anyway, 2 questions, if you don't mind-



It seems you abandoned your gear that you used for the RFK shows after a month or two and upgraded to the Nak. Any reason? Just that excited about taping that you just had to upgrade? I imagine that stuff wasn't cheap back then.



Secondly, it continues to amaze me how the earliest tapers not only got their gear in (I've heard many stories of how that was pulled off and that doesn't surprise me as much, despite the relatively large size of the state of the art gear at the time-not including batteries and blanks-considering somewhat more relaxed security and such), but in an era where you didn't want to get spotted with a mic stand (how ya'll got THOSE in really amazes me, I mean, a 10 FOOT POLE?), how did so many tapers get away with holding a big pole in the air? Would you just lower it when security happened to pass by? Did venue/staff just overlook it?



Anyway, thanks for all the backstory on those legendary concerts. It amazes me that so many people would leave after the ABB and not stay for the Dead. I never knew that about the crowd at that show, nor did I know that so many had left before the Dead/ABB jam set. It sounds like you didn't tape the Allman's either day, but I'm amazed that you had enough cassettes with you to capture the Dead as complete as you did. I imagine over the 2 days you used quite a lot of tapes, which I've heard weren't all that cheap back then either.



You're a champ for all you did, Monte. Nothing but thanks and respect from me! Great post, thank you for sharing, and most of all, thanks for taping!I've been getting so wrapped up in the flood of great "TDIH" shows lately that I totally forgot about 6/9-10/73. Instead of pulling out the sbds like I usually would, I'm going with your auds. Aside from a slight lack of drums/cymbals in the high end, these sound absolutely fantastic for a first time endeavor in 1973. And...that GAUNTLET...how you pulled that off, I have no clue. You deserve some kind of award for that.I never liked audience recordings much until recently. I always kindof saw them as a last resort, something to listen to if no board existed for the date, or to cover patches. I would say I was probably more tolerant of more modern audience tapes, the setups some people have been using these last 10 years especially are phenomenal. But for the older stuff, I usually passed on the aud's. Only in this last year have I gained a true appreciation for them, and have actually excitedly sought them out to listen to over the boards. I think it was gaining an appreciation for a GOOD matrix that really opened the door to my new appreciation, or love even, of audience recordings. It surprises me how less rowdy a lot of crowds seemed in the 70's compared to now. Nowdays you can have a stand 12 feet up and still hear the roar of chatter during a good Stella Blue or Morning Dew. Maybe the dope back then just made people shut up and listen more lol.Anyway, 2 questions, if you don't mind-It seems you abandoned your gear that you used for the RFK shows after a month or two and upgraded to the Nak. Any reason? Just that excited about taping that you just had to upgrade? I imagine that stuff wasn't cheap back then.Secondly, it continues to amaze me how the earliest tapers not only got their gear in (I've heard many stories of how that was pulled off and that doesn't surprise me as much, despite the relatively large size of the state of the art gear at the time-not including batteries and blanks-considering somewhat more relaxed security and such), but in an era where you didn't want to get spotted with a mic stand (how ya'll got THOSE in really amazes me, I mean, a 10 FOOT POLE?), how did so many tapers get away with holding a big pole in the air? Would you just lower it when security happened to pass by? Did venue/staff just overlook it?Anyway, thanks for all the backstory on those legendary concerts. It amazes me that so many people would leave after the ABB and not stay for the Dead. I never knew that about the crowd at that show, nor did I know that so many had left before the Dead/ABB jam set. It sounds like you didn't tape the Allman's either day, but I'm amazed that you had enough cassettes with you to capture the Dead as complete as you did. I imagine over the 2 days you used quite a lot of tapes, which I've heard weren't all that cheap back then either.You're a champ for all you did, Monte. Nothing but thanks and respect from me!

Reply to this post edit] Poster: dead-head_Monte Date: Jun 10, 2010 9:27am Forum: GratefulDead Subject: Re: June 9 & 10 - Taper's Gauntlet reveals an Orgy of Sound I purchased my Nakamichi 550 portable stereo cassette recorder in June, 1973. It was state-of-the-art, being the first portable stereo cassette recorder in the world to feature Dobly NR and Chromium Tape bias/EQ circuitry. This was a huge development. Tapers like myself were also making copies of other tapes. The Nak was a heavy device to haul around for taping shows. This deck weighed 11.25 pounds without batteries. It required 8 D-cell batteries to operate in the field. I believe I had the first Nakamichi 550 deck on the East Coast in 1973. I bought it from a very high-end audio dealer in NJ, named Roger Iselle. At his insistence, I had to pay him $500 cash up-front. I waited one month for my new deck to arrive. It was brand new when I taped GD at Roosevelt Stadium, July 31 and Aug 1.



The 10-foot pole "mic stand" at Roosevelt Stadium was a one-time wonder. Scaffolding rubble was piled up next to the entrance gate on July 31. I simply picked up the pole and walked inside with it. I was very surprised that no one stopped me. However, the Hell's Angels and GD security had noticed my mic on this pole. Jerry Moore was there taping that night. He didn't get busted.



Regarding the crowds exiting RFK Stadium early on June 10, it was clear to everyone there that: a) Some people were there just for the Allmans. Many of them left after ABB played first on Sunday. b) Some people were there just for the Dead. Duane Allman had died 20 months earlier, and some of us were less interested. c) Some people left early on Sunday because they had a long commute. Many people needed to get back for work on Monday. I don't think anyone in the crowd was from Wash DC. Everyone commuted there from up and down the east coast. I purchased my Nakamichi 550 portable stereo cassette recorder in June, 1973. It was state-of-the-art, being the first portable stereo cassette recorder in the world to feature Dobly NR and Chromium Tape bias/EQ circuitry. This was a huge development. Tapers like myself were also making copies of other tapes. The Nak was a heavy device to haul around for taping shows. This deck weighed 11.25 pounds without batteries. It required 8 D-cell batteries to operate in the field. I believe I had the first Nakamichi 550 deck on the East Coast in 1973. I bought it from a very high-end audio dealer in NJ, named Roger Iselle. At his insistence, I had to pay him $500 cash up-front. I waited one month for my new deck to arrive. It was brand new when I taped GD at Roosevelt Stadium, July 31 and Aug 1.The 10-foot pole "mic stand" at Roosevelt Stadium was a one-time wonder. Scaffolding rubble was piled up next to the entrance gate on July 31. I simply picked up the pole and walked inside with it. I was very surprised that no one stopped me. However, the Hell's Angels and GD security had noticed my mic on this pole. Jerry Moore was there taping that night. He didn't get busted.Regarding the crowds exiting RFK Stadium early on June 10, it was clear to everyone there that: a) Some people were there just for the Allmans. Many of them left after ABB played first on Sunday. b) Some people were there just for the Dead. Duane Allman had died 20 months earlier, and some of us were less interested. c) Some people left early on Sunday because they had a long commute. Many people needed to get back for work on Monday. I don't think anyone in the crowd was from Wash DC. Everyone commuted there from up and down the east coast.