What a wonderful day that was! Some friends and I drove up from LA the night before and camped out waiting for the doors to open at 10am on concert day. I didn’t like it.Ĭlick to expand.Wow - that's great, had a feeling it was UCSB.
It was far out, but it was hard for me to get real intimate. Just think about that much sound going out over you. All your sound came from behind you and that’s ridiculous. I’m not sitting under that thing.” I’m not an engineer but I said, “Put two more winches there, one on each corner so it’s triangular shaped, with the longest side on the speakers out front.” And that made it a lot better, but it was intolerable for other reasons! Ha! The first time I saw it was in Reno and the thing was blowing because they only had one two-ton winch up there and one chain down to it and I went, “Nuh-uh, no good. The Wall of Sound is the craziest thing, but I never thought about if from the perspective of the guy sitting directly underneath until I read your book. I can kind of see Billy's point now from an interview about his book. Grateful Dead - Richard Pechner Photography
of Nevada and already the vocal cluster was up. The next time out after Cow Palace was 5/12/74 Univ. However, they did NOT switch over to Burwen modules, OR buy the mixer from Mark Levinson." He did so, and was so impressed sonically with the result, that he wanted to build the JC-2 preamp based on these modules.Īt about this time, Mark also loaned the Grateful Dead one of Dick Burwen's mixer designs for the stage monitors at the Watkins Glen event, and it went well with the crew, who liked its overall sound. So, along with the design of the JC-1, I commissioned Mark to build the discrete gain modules for the Grateful Dead. At this time, I fortuitously found Mark Levinson at an AES convention, and he and I decided to make some electronics together. Sonically they were a success, and everybody was happy, but I had to get a number of them built, somehow. I decided to make all discrete circuits using complementary symmetry jfet inputs and transconductance output that I had developed in the intervening time since I last worked with them. In late 1972, I was again hired by the Grateful Dead to make the active electronics for their new sound system, 'The Wall of Sound'. However, in the meantime, between 19, the Grateful Dead stopped using the IC based board and returned to their modified Ampex tube mixers. He had the advantage of selecting them for various tasks, and in hindsight, this was a great advantage, as many units had xover distortion that could be measured with the special equipment that I finally got in 1974. I only had design control of the JC-1 and the JC-2 in this time period, but my discrete designs went into the LNP-2 and the LNC-2 as well, although they started as Dick Burwen's designs.ĭick Burwen, at the time, used the SAME IC that I had selected for the Grateful Dead PA board back in 1970. However, I replaced virtually everything that he did for Mark Levinson when I worked with Mark from 1973-1976. A John Curl quote from over at DIY Audio outlining his and the Mark Levinson with the WOS connection:
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