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Oh well, I hope who took my recording away from me several years later eventually came to appreciate what he had obtained, but I have strong doubts of that and suspect it may have been erased or trashed, boo-hoo! Regardless, of what was my great fortune for a while that turned rotten, I can assure you that this is highly recommended! This is despite in being somewhat bigger in size giving it besides the results themselves which obviously are most important, in its use better metering in terms both of sight and control as an analogy but not exactly the same relational difference for example, the differences in readout/control (smooth or the lack there of) between the D6 vs. KD2 (which I bought in the middle of the Winterland shows in October), with super ANRS noise reduction which alone is far better than Dolby B and at least comparable with but not compatible with Dolby C) I vigorously contend is better than the important to note still not yet been released for another =/< 4 months well known future as a common standard machine, namely the Sony D5 and later still, D5M.
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I was recording from well in front of the board I do recall I was ~10-20 feet in front of that a guy with the Nagra! I still remember it in color from having been looking at them through my binoculars, with my elbows each steadily planted on either side of my recorder strapped around my neck, with my microphones strapped one to each side of binoculars. And the encore "One More Saturday Night" isn't the best I've ever heard but it still it cooked! For the encore, since the show was so long, I was forced to use a lesser quality grade of tape (see below), rather than all before on Maxell XLSII. Mine was not perfect, although I got all the way through to the end, with Mathew Kelly on Harmonica etc., unlike even this here soundboard (not counting its patches) which ends all together going to another audience recording somewhere in "St. Superior even than any of the ones at Winterland, and even more so than the rather future dull performances! This monumental performance is not only well over 3 hours in with this 12 song 1st set (one of the three longest I ever saw) was tough to record without any cuts!. This was the the very best ever performance of "Olin Arrageed" with Hamza El-Din.
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Stephen"! Despite my apparent bias this one is relatively if not absolutely unique if for no other reason than the fact that Garcia uses the envelope filter (save perhaps the next day at Winterland although I watched that one too live I have to re-listen) in part of the instrumental progression in the fact that Garcia plays in the opposite direction in terms of ascending verses descending, unlike every other I can recall! Why and how do I know? (see below). Absolutely unique, I never elsewhere quite heard him grab that chord like he does here! Check out the way Jerry really powerfully instrumental especially the final C chord of (as I am at this moment feeling the chills all over not just in my spine as I listen again now) definitely the greatest version I ever heard "Tennessee Jed". It certainly isn't the only time I've heard Weir say the following in "Mexicali Blues" but not often "Everybody Polka" since the rhythm of that song is in a polka style. He was apparently in attendance here, but supposedly complained that they didn't play "any new" or was it "many" tunes! Oh, contraire, indeed they played five tunes from the "Shakedown Street" album alone and one from the Terrapin Station album! Firstly, who is "Clive" that Weir substitutes for "life" Jack Straw? Bob Weir is referring to Clive Davis the head of Arista Records with whom they had recently signed a contract with for the "Terrapin Station" & "Shakedown Street" albums.