Four Complete Shows on 11 discs
Four folios housed in a slipcase
- 5/5/77 Veterans Memorial Coliseum: New Haven, CT
- 5/7/77 Boston Garden: Boston, MA
- 5/8/77 Barton Hall, Cornell University: Ithaca, NY
- 5/9/77 Buffalo Memorial Auditorium: Buffalo, NY
50-page book of liners and photographs
Sourced from the Betty Cantor-Jackson soundboard recordings, transferred by Plangent Processes
Mastered in HDCD by Jeffrey Norman
Artwork by Grammy-winning graphic artist Masaki Koike
Release Date: May 5, 2017
7 CD Box Set from 4 nights of shows as played in 1974
- This is the first box set of live recordings ever released of Doc & Merle Watson, containing 7 CDs and 94 tracks spanning 4 nights of shows
- Features a 16-page booklet of liner notes, including new material from Watson collaborators T. Michael Coleman (who plays bass on these recordings) and David Holt
- The first Bear’s Sonic Journals release produced entirely by the Owsley Stanley Foundation from Owsley’s storied trove of live concert recordings.
‘Never the Same Way Once’ was mastered by Jeffrey Norman of Mockingbird Mastering, a frequent Grateful Dead mastering engineer and one of Bear’s trusted friends and colleagues. State-of-the-art Plangent Process transfer techniques were used to remove subtle timing distortions created by the recording and playback devices (wow and flutter), resulting in the most accurate replication of the music, exactly as it was heard on the night it was played.
Select music from the acclaimed Grateful Dead Documentary, Long Strange Trip, produced by Martin Scorsese and directed by Amir Bar-Lev. The soundtrack, co-produced by David Lemieux, features “Touch Of Grey,” “Ripple,” and five previously unreleased tracks including a 1970’s “Dark Star” a 1971 “China>Rider” and 1989 back to back covers of “Dear Mr. Fantasy” and “Hey Jude.”
Mastered by Jeﬀrey Norman
Mixing the RFK Box Set in August 2017 at TRI Studios, San Rafael, with help from the "Executive Producer", Charlie Parker.
Mockingbird Mastering was created by longtime Bay Area engineer Jeffrey Norman. Located in Petaluma, California, the studio is a beautiful 40 minute drive north of the Golden Gate. Through the last 30 years, Jeffrey has engineered, mixed, and mastered recordings for a variety of clients including the Grateful Dead, Huey Lewis and the News, and John Fogerty. “It’s gotten to the point where I want to concentrate on mastering and that’s what Mockingbird Mastering is all about”, says Norman. “Through the years I’ve had a chance to work with a lot of top-of-the line equipment, and I’ve kept what I feel is the best. I have a great room, and I love providing this service”.
Although many of Norman’s clients are well known artists, it is the desire of Mockingbird Mastering, Inc. to make this top professional service available and affordable to the upcoming artist and independent record company. With so much music being produced on relatively inexpensive digital equipment, sometimes the warmth and depth is sacrificed along the way. Current digital workstations and music programs are incredibly sophisticated and flexible for the artist and producer, but just because it’s digital doesn’t always mean that it sounds as good as it can. Professional mastering, by effecting subtle volume and tonal changes with state-of-the-art equipment, can bring back much of the intended musical emotion.
Not a large room, Mockingbird Mastering, Inc. is an acoustically accurate environment (thanks to Sam Berkow of SIA Acoustics, NY). Using state-of-the art monitors (Meyer HM-1s), digital and analog compression (Z-Systems and Fairman) and equalization (Sontec, Millennia, and NTI) in conjunction with Sonic soundBlade and ProTools HD workstations, Mockingbird Mastering can produce the finest possible stereo CD master from most analog and digital sources. In addition, Mockingbird Mastering has a number of digital problem solving plug-ins (Waves, Sonic No-Noise, and Cube-Tec) to cure unwanted source noise and artifacts.