Is Bob Weir Redefining State of the Art Recording?

Never heard better live recording or better studio for that matter.Anyone know who's behind the brilliance?

Yes, please explain. The Dead always cared about sound so there's some great recordings out there but what specifically about Bobby are you writing about?

Maybe they are talking about Bobby’s Wolf Brothers Live at Red Rocks release, as it is a very very good sounding recording. OR they are referring to Bobby’s TRI Studios which has a state of the art Myer Sound Constellation System. Have a read up on that, it’s way cool stuff! 

Yes, was primarily referring to the wolf brothers live in Colorado. Have a listen. It just strikes me as really really good. Was hoping others may have more details on how that was achieved from an amphitheater that is otherwise tough with regard to sound. Tnx @jriggy !

As @bhvf explained, The Dead have always been obsessed produced recordings good sound, driven by  the obsessions of the Bear and others with the visually impressive Wall of Sound (JBL, EV, & MAC). However, there were recording limitations to their live productions.  To my ears, severe dynamic compression and lack of soundstage depth.  Colorado benefits from more modern recording techniques and is good from both an artistic and production perspective.   However, I hear the thickness of studio processing.  For state of the art live production look to, as some examples, Neil Young live at Massy Hall on Reprise or The Eagles Hell Freezes Over.  Better yet are folk-rock and jazz offerings form Stockfish Records, Proprious, Etc.  These labels are truly state of the art productions removing the vail of studio manipulation with micro dynamics, macro dynamics, clarity, detail, balance, and bass reproduction.   Try Katja Werker Contact Myself on Stockfish to hear state of the art live production.  Weir recording are all well above average productions but not state of the art.  

@jsalerno277 thanks for your input! I'll be sure to have a listen. Figured there was some studio wizardry going on there. It doesn't sound like a live recording.

@jsalerno277 “However, I hear the thickness of studio processing.” 
Yep. I heard or read somewhere that this release has quite a lot of work done to it in the studio, even re-recording some vocals, etc… 

@jsalerno277 I found that Katja Werker a few weeks ago. Great recording. 

I listened to that Vol 2 album Friday night figuring that's what OP was talking about. Sounds great but overly polished. That's the way Bobby likes it and, unfortunately, that's the way he has Dead & Co sound being done. I saw them at Red Rocks in 2021 and was so underwhelmed by the sound that I have little interest in seeing another show there. Maybe it was just the way they wanted it to sound as I've never seen anyone else there.

Agreed. Katja is  overly polished; however, a different genera and recording venue.  The reference was provided simply as an example of what is technically feasible in live production.  The reference to Young is a better example for the genera and venue of the clarity possible when a live performance is not overly processed in the studio.  So let’s stay with Dead examples.  Wake Up to Find Out, while it has its own production issues is not as overly processed.  It has better high end extension, clarity, less grunge in spaces between instruments, and better imaging.  Colorado wins on dynamic contrast.  From an artistic perspective, simply compare Eyes of the World on both albums.  The solo runs on Colorado simply, sans Jerry may he rest, do not compare…and the electric exchanges between Branford and Jerry on Wake Up win 4.5 finders down.  I was at that concert.  I just think Colorado plays like a good studio recording facsimile of a Dead concert rather than other live recordings (Skull, Europe) available to my ears and old/burnt out memory.   With respect.  This is a subjective hobby.  To each our own ear-brain connection

Wake Up to Find Out is my most played streaming Dead by a lot. I guess it just sounds more "real" than others. I like Dick's Picks sound on 11, 12, 14, 18 and 19.

To me live music should have the rawness that was present when it was played. To touch it up after or even smooth things out during the show by tightening the dynamic range takes the you are there out of watching live music. I might as well sit at home and listen to studio albums.

What about the recent 81 MSG release? To me it sounds better than that arena ever did. Possibility similar remaster wizards as Weir? I could care less about the big arena concert sound... By contrast and for the period (79), BMW Rainbow room. One of my favorite new old live recordings! Hopefully someone will remaster JGB Hampton club casino .... best GD related SQ I ever experienced.
@jsalerno277 tried to listen to hell freezes over. Found the vocal harmonics edgy, mids hard to listen to, low end thin..quickly went back to my happy place. Possibly depends on the resolution of your gear or your ear. Roon Rock Nuc ( Weir CO DSD)>optical lan>PS Audio Direct Stream bridge II >PS Audio 6.2 (burson 6 gain stage) Pass Labs X150.5> Dunlavy SM-1 for >60hz. Below 60hz modified X-1 active> Hafler 440 monoblock (4 pairs from 1 PC-19) Dunlavy SC-S2... Tuned with REW. Each to their own. Peace.


Is is an ill-considered myth that Red Rocks "amphitheater that is otherwise tough with regard to sound" total BS.....Having lived in Colorado and attended many concerts at RR since 1985, I can confirm any experienced group/artist with a great sound crew can obtain outstanding sound at Red Rocks....Best not to just repeat Urban Legends without doing some deeper research... 

For me, there has always been a give and take between digital Dead vs analogue Dead. The advantages of digital are too numerous to discuss however there is a contrast between cassette tapes from the shoe box and the digital remasters of the Dick’s Picks going forward. To my ears, the Europe 72 remasters are remarkable while the ‘Get Shown The Light’ CD’s were a little bit of a let down. So I’m not convinced that the seemingly obvious reasons for better recorded sound are factual. I do believe that newly recorded classical music keeps on improving with newer recording technologies but that’s a different animal. That being said, Bob Weir certainly knows what he’s doing so if a recording of his sounds a certain way, I would say it’s intentional or if it’s substandard, then he just didn’t care.