GD50?

[No Nice Guy]

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[Heady Jam Fan]

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I ripped the CD's to my computer and been listening through it a lot, mostly in my car. It sounds pretty good.

Trey does a nice job at not selling out stylistically while still paying respect to Jerry IMO. I can hear both of them in his playing: sometimes an integration, sometimes I hear Trey and other times I find myself forgetting I'm not listening just listening to the Dead.

His tone is also interesting. I would also call that a fusion between Trey and Garcia in attempt to pay tribute to the man and the band. Changing the pickups and speakers makes a big difference. Its a much more open, less pressured (compressed and singing) tone. Better for that laid-back meandering Jerry is known for, but not as good for Trey's powerful rock licks (or "The Note"). I thought the tone was good, but I prefer either Trey's normal tone or Garcia's tone later in his career. I thought Weir sounded great though! That crisp strat tone that would make your ears bleed if you sat right in front of the speaker sits perfectly in the mix; pretty scooped while Trey was much warmer sounding, filling in that gap.

I also enjoyed the panning. Completely opposite panning scheme in Dead recordings compared to Phish recordings! Trey's guitar was always made to sound huge. On Junta, his tracks were duplicated and delayed on one side. Eventually, he used two mics on the same speaker hard panned, and certain chords were accented with double-tracking (they blend really well - can be hard to hear!). Even live, Trey used the two mics for a wider sound and usually one panned left, one right, but equal in volume, which leaves the listener perceiving Trey's sound as wide, but centered. Around 2011, while still micingt his amp with two mics, Trey was panned slightly to one side and Page to the other. This was a less full sound, but more clarity and separation between the instruments; you could hear how Trey was listening to Page through his solos and picking up Page's phrasing - something Weir and Garcia were well known to do. The Dead never seemed to focus on a "big" "wide" sound; each instrument was panned to its own space. That is also what I hear in FTW. The only critique I had of that, was I would have considered swapping Trey and Weir's panning position; Trey was pretty far left and Weir was slightly right of center. I kinda like leads to be fairly center-panned, while Weir's rhythm might have sat nicely a little more off center (to leave space between him and Trey), and balanced by keys on the other side.

[No Nice Guy]

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[Jkendrick]

I have something, blow up my inbox if you want it

I ripped the CD's to my computer and been listening through it a lot, mostly in my car. It sounds pretty good.

Trey does a nice job at not selling out stylistically while still paying respect to Jerry IMO. I can hear both of them in his playing: sometimes an integration, sometimes I hear Trey and other times I find myself forgetting I'm not listening just listening to the Dead.

His tone is also interesting. I would also call that a fusion between Trey and Garcia in attempt to pay tribute to the man and the band. Changing the pickups and speakers makes a big difference. Its a much more open, less pressured (compressed and singing) tone. Better for that laid-back meandering Jerry is known for, but not as good for Trey's powerful rock licks (or "The Note"). I thought the tone was good, but I prefer either Trey's normal tone or Garcia's tone later in his career. I thought Weir sounded great though! That crisp strat tone that would make your ears bleed if you sat right in front of the speaker sits perfectly in the mix; pretty scooped while Trey was much warmer sounding, filling in that gap.

I also enjoyed the panning. Completely opposite panning scheme in Dead recordings compared to Phish recordings! Trey's guitar was always made to sound huge. On Junta, his tracks were duplicated and delayed on one side. Eventually, he used two mics on the same speaker hard panned, and certain chords were accented with double-tracking (they blend really well - can be hard to hear!). Even live, Trey used the two mics for a wider sound and usually one panned left, one right, but equal in volume, which leaves the listener perceiving Trey's sound as wide, but centered. Around 2011, while still micingt his amp with two mics, Trey was panned slightly to one side and Page to the other. This was a less full sound, but more clarity and separation between the instruments; you could hear how Trey was listening to Page through his solos and picking up Page's phrasing - something Weir and Garcia were well known to do. The Dead never seemed to focus on a "big" "wide" sound; each instrument was panned to its own space. That is also what I hear in FTW. The only critique I had of that, was I would have considered swapping Trey and Weir's panning position; Trey was pretty far left and Weir was slightly right of center. I kinda like leads to be fairly center-panned, while Weir's rhythm might have sat nicely a little more off center (to leave space between him and Trey), and balanced by keys on the other side.

I can't say I'm a fan of the mix. Seems very heavy on the core four and Trey and the keys seem totally buried.

[Heady Jam Fan]

I have something, blow up my inbox if you want it

I ripped the CD's to my computer and been listening through it a lot, mostly in my car. It sounds pretty good.

Trey does a nice job at not selling out stylistically while still paying respect to Jerry IMO. I can hear both of them in his playing: sometimes an integration, sometimes I hear Trey and other times I find myself forgetting I'm not listening just listening to the Dead.

His tone is also interesting. I would also call that a fusion between Trey and Garcia in attempt to pay tribute to the man and the band. Changing the pickups and speakers makes a big difference. Its a much more open, less pressured (compressed and singing) tone. Better for that laid-back meandering Jerry is known for, but not as good for Trey's powerful rock licks (or "The Note"). I thought the tone was good, but I prefer either Trey's normal tone or Garcia's tone later in his career. I thought Weir sounded great though! That crisp strat tone that would make your ears bleed if you sat right in front of the speaker sits perfectly in the mix; pretty scooped while Trey was much warmer sounding, filling in that gap.

I also enjoyed the panning. Completely opposite panning scheme in Dead recordings compared to Phish recordings! Trey's guitar was always made to sound huge. On Junta, his tracks were duplicated and delayed on one side. Eventually, he used two mics on the same speaker hard panned, and certain chords were accented with double-tracking (they blend really well - can be hard to hear!). Even live, Trey used the two mics for a wider sound and usually one panned left, one right, but equal in volume, which leaves the listener perceiving Trey's sound as wide, but centered. Around 2011, while still micingt his amp with two mics, Trey was panned slightly to one side and Page to the other. This was a less full sound, but more clarity and separation between the instruments; you could hear how Trey was listening to Page through his solos and picking up Page's phrasing - something Weir and Garcia were well known to do. The Dead never seemed to focus on a "big" "wide" sound; each instrument was panned to its own space. That is also what I hear in FTW. The only critique I had of that, was I would have considered swapping Trey and Weir's panning position; Trey was pretty far left and Weir was slightly right of center. I kinda like leads to be fairly center-panned, while Weir's rhythm might have sat nicely a little more off center (to leave space between him and Trey), and balanced by keys on the other side.

I can't say I'm a fan of the mix. Seems very heavy on the core four and Trey and the keys seem totally buried.

Its certainly not Phish where Trey's solos were almost as loud of the rest of the band in some live mixes. I didn't feel like Trey was totally buried, but I would definitely agree he was no where near showcased. I thought it was odd that Weir, playing rhythm, was louder than Trey, playing leads, even during a lot of guitar solos. Draws energy away from the tunes too. On the other hand, I did like being able to hear Weir's chord work and how it complemented Trey's phrasing. Some older live Phish tunes with a denser mix, I found it hard to hear Page when trying to listen to how him and Trey were playing off of each other. While I have mixed feelings about the changes in the mix/recordings, around 2011 Trey and Page were panned slightly and it made it easier to hear the instruments separately.

[Jkendrick]

I have something, blow up my inbox if you want it

I ripped the CD's to my computer and been listening through it a lot, mostly in my car. It sounds pretty good.

Trey does a nice job at not selling out stylistically while still paying respect to Jerry IMO. I can hear both of them in his playing: sometimes an integration, sometimes I hear Trey and other times I find myself forgetting I'm not listening just listening to the Dead.

His tone is also interesting. I would also call that a fusion between Trey and Garcia in attempt to pay tribute to the man and the band. Changing the pickups and speakers makes a big difference. Its a much more open, less pressured (compressed and singing) tone. Better for that laid-back meandering Jerry is known for, but not as good for Trey's powerful rock licks (or "The Note"). I thought the tone was good, but I prefer either Trey's normal tone or Garcia's tone later in his career. I thought Weir sounded great though! That crisp strat tone that would make your ears bleed if you sat right in front of the speaker sits perfectly in the mix; pretty scooped while Trey was much warmer sounding, filling in that gap.

I also enjoyed the panning. Completely opposite panning scheme in Dead recordings compared to Phish recordings! Trey's guitar was always made to sound huge. On Junta, his tracks were duplicated and delayed on one side. Eventually, he used two mics on the same speaker hard panned, and certain chords were accented with double-tracking (they blend really well - can be hard to hear!). Even live, Trey used the two mics for a wider sound and usually one panned left, one right, but equal in volume, which leaves the listener perceiving Trey's sound as wide, but centered. Around 2011, while still micingt his amp with two mics, Trey was panned slightly to one side and Page to the other. This was a less full sound, but more clarity and separation between the instruments; you could hear how Trey was listening to Page through his solos and picking up Page's phrasing - something Weir and Garcia were well known to do. The Dead never seemed to focus on a "big" "wide" sound; each instrument was panned to its own space. That is also what I hear in FTW. The only critique I had of that, was I would have considered swapping Trey and Weir's panning position; Trey was pretty far left and Weir was slightly right of center. I kinda like leads to be fairly center-panned, while Weir's rhythm might have sat nicely a little more off center (to leave space between him and Trey), and balanced by keys on the other side.

I can't say I'm a fan of the mix. Seems very heavy on the core four and Trey and the keys seem totally buried.

Its certainly not Phish where Trey's solos were almost as loud of the rest of the band in some live mixes. I didn't feel like Trey was totally buried, but I would definitely agree he was no where near showcased. I thought it was odd that Weir, playing rhythm, was louder than Trey, playing leads, even during a lot of guitar solos. Draws energy away from the tunes too. On the other hand, I did like being able to hear Weir's chord work and how it complemented Trey's phrasing. Some older live Phish tunes with a denser mix, I found it hard to hear Page when trying to listen to how him and Trey were playing off of each other. While I have mixed feelings about the changes in the mix/recordings, around 2011 Trey and Page were panned slightly and it made it easier to hear the instruments separately.

Yeah those early sbds have less Page because of the smaller room I think. The sbd mix didn't reflect the mix in the room at all. My buddy recorded many of the Colorado shows from 90-92. So I was there and then heard the sbds on the way home or after-partying.