After Stanley got out of prison in late 1972, he, Dan Healy and Mark Raizene of the Grateful Dead's sound crew, in collaboration with Ron Wickersham, Rick Turner, and John Curl of Alembic combined six independent sound systems using eleven separate channels, in an effort to deliver high-quality sound to audiences. Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. Phil Lesh's bass was piped through a quadraphonic encoder that sent signals from each of the four strings to a separate channel and set of speakers for each string. Another channel amplified the bass drum, and two more channels carried the snares, tom-toms, and cymbals. Because each speaker carried just one instrument or vocalist, the sound was exceptionally clear and free of intermodulation distortion.
Several setups have been reported for The Wall of Sound:
89 300-watt solid-state and three 350-watt vacuum tube amplifiers generating a total of 26,400 watts of audio power. 604 speakers total. [1]
586 JBL speakers and 54 Electrovoice tweeters powered by 48 McIntosh MC-2300 Amps (48 X 600 = 28,800 Watts of continuous (RMS) power).[2][3]
This system projected high-quality playback at six hundred feet with an acceptable sound projected for a quarter mile, at which point wind interference degraded it. The Wall of Sound was the first large-scale line array used in modern sound reinforcement systems,[2] although it was not called a line array at the time. The Wall of Sound was the perhaps the second-largest non-permanent sound system ever built. The Wall of Sound can be seen in The Grateful Dead Movie, a documentation of the series of shows played October 16-20, 1974 at the Winterland Ballroom.
There were multiple sets of staging and scaffolding that toured with the Grateful Dead. In order to accommodate the time needed to set up and tear down the system, the band would perform with one set while another would "leapfrog" to the next show. According to band historian Dennis McNally, there were two sets of scaffolding.[3] According to Stanley, there were three sets.[4] Four semi-trailers and 21 crew members were required to haul and set up the 75-ton Wall.
Though the initial framework and a rudimentary form of the system was unveiled at Stanford University's Roscoe Maples Pavilion on February 9, 1973 (every tweeter blew as the band began their first number), the Grateful Dead did not begin to tour with the full system until a year later. The completed Wall of Sound made its touring debut on March 23, 1974, at the Cow Palace in Daly City, California. A recording of the performance was released in 2002 as Dick's Picks Volume 24.
As Stanley described it,
"The Wall of Sound is the name some people gave to a super powerful, extremely accurate PA system that I designed and supervised the building of in 1973 for the Grateful Dead. It was a massive wall of speaker arrays set behind the musicians, which they themselves controlled without a front of house mixer. It did not need any delay towers to reach a distance of half a mile from the stage without degradation."[
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After Stanley got out of
After Stanley got out of prison in late 1972, he, Dan Healy and Mark Raizene of the Grateful Dead's sound crew, in collaboration with Ron Wickersham, Rick Turner, and John Curl of Alembic combined six independent sound systems using eleven separate channels, in an effort to deliver high-quality sound to audiences. Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. Phil Lesh's bass was piped through a quadraphonic encoder that sent signals from each of the four strings to a separate channel and set of speakers for each string. Another channel amplified the bass drum, and two more channels carried the snares, tom-toms, and cymbals. Because each speaker carried just one instrument or vocalist, the sound was exceptionally clear and free of intermodulation distortion.
Several setups have been reported for The Wall of Sound:
89 300-watt solid-state and three 350-watt vacuum tube amplifiers generating a total of 26,400 watts of audio power. 604 speakers total. [1]
586 JBL speakers and 54 Electrovoice tweeters powered by 48 McIntosh MC-2300 Amps (48 X 600 = 28,800 Watts of continuous (RMS) power).[2][3]
This system projected high-quality playback at six hundred feet with an acceptable sound projected for a quarter mile, at which point wind interference degraded it. The Wall of Sound was the first large-scale line array used in modern sound reinforcement systems,[2] although it was not called a line array at the time. The Wall of Sound was the perhaps the second-largest non-permanent sound system ever built. The Wall of Sound can be seen in The Grateful Dead Movie, a documentation of the series of shows played October 16-20, 1974 at the Winterland Ballroom.
There were multiple sets of staging and scaffolding that toured with the Grateful Dead. In order to accommodate the time needed to set up and tear down the system, the band would perform with one set while another would "leapfrog" to the next show. According to band historian Dennis McNally, there were two sets of scaffolding.[3] According to Stanley, there were three sets.[4] Four semi-trailers and 21 crew members were required to haul and set up the 75-ton Wall.
Though the initial framework and a rudimentary form of the system was unveiled at Stanford University's Roscoe Maples Pavilion on February 9, 1973 (every tweeter blew as the band began their first number), the Grateful Dead did not begin to tour with the full system until a year later. The completed Wall of Sound made its touring debut on March 23, 1974, at the Cow Palace in Daly City, California. A recording of the performance was released in 2002 as Dick's Picks Volume 24.
As Stanley described it,
"The Wall of Sound is the name some people gave to a super powerful, extremely accurate PA system that I designed and supervised the building of in 1973 for the Grateful Dead. It was a massive wall of speaker arrays set behind the musicians, which they themselves controlled without a front of house mixer. It did not need any delay towers to reach a distance of half a mile from the stage without degradation."[
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https://archive.org/details
https://archive.org/details/gd1974-03-23.sbd.clugston-orf.1995.sbeok.shn...
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6/22/74, Jai Alai Fronton,
6/22/74, Jai Alai Fronton, Miami.
Still the best live audio I have ever heard.
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Thanks for the info!
Thanks for the info!
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i laughed at the meme
i laughed at the meme
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some bad hombres up on that
some bad hombres up on that stage...
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What Turtle said.
What Turtle said.