Subwoofer

These claims are scientifically disputed and unresolved as of yet. Volume 15 and later are released in the HDCD format. They further claim that Kicker's square design puts too much stress on the corners of the cones. About three new volumes were being released each year. Sony claims that its pentagon shape reduces standing waves on the surface of the cone as well as improves the overall strength of the cone structure, reducing "cone flex". Started in 1993, as of January 14, 2006 there are thirty-six volumes in the series, each covering a part or all of one or more concerts. The intent of the triangular design does not seem to be motivated by sound quality or intensity, but rather to encourage creativity in installation and provide flexibility for otherwise awkward positions. The above list does not include the Dick's Picks series of concert recordings taken from the band's archives, selected by archivist Dick Latvala and, after his death, David Lemieux.

However, a triangular design decreases the surface area of the woofer cone relative to a circular or square design in an enclosure of the same size.
. The increased surface area translates into moving more air and higher sound pressure levels. As of now, any future plans are unknown, and are largely contingent on Weir and Lesh making up. In enclosures of the same size, it is possible to achieve more subwoofer cone surface area with a square design than a circular design. Their inability to reconcile these differences kept Deadheads from seeing a tour to celebrate the 40th anniversary of the Grateful Dead, and also made the annual celebration honoring Jerry Garcia seem a little flat, as his own bandmates couldn't put aside their differences to take the stage together in his honor. The intent of a square subwoofer is to increase the surface area of the woofer's cone. The band did not tour in 2005, due to a fight between Bob Weir and Phil Lesh over how they believe certain things happened in the history of the band.

However, they can be useful in creating unique 'looks' in a car audio system that is meant to be seen as much as heard, and to create brand distinction and recognition. Haynes is best known for his work with Gov't Mule and the Allman Brothers Band. There is no known auditory advantage to these shapes. Blues." The band accepted Warren Haynes as their new lead guitarist. Other companies, such as Sony, have jumped on the bandwagon, producing non-round subwoofers of their own. The members would continue to tour on and off through the end of their 2004 Summer Tour, the "Wave That Flag" tour, named after a lyric from the song, "U.S. Xtant has introduced a hexagonal subwoofer. On February 14, 2003, (as they said) "reflecting the reality that [was]," they renamed themselves The Dead, reflecting the abbreviated form of the band name that fans had long used and keeping "Grateful" retired out of respect for Garcia.

Bazooka has introduced a triangular subwoofer. The mid-2002 fall tour of The Other Ones, with Bob, Bill, Phil and Mickey, was so successful and satisfying that the band decided the name was no longer appropriate. Stillwater Designs, nicknamed Kicker, released a square subwoofer several years ago, the Solo-Baric series, and recently, the Solo X. The remaining members occasionally got together under the pseudonym Crusader Rabbit Stealth Band during the late 1990s, infrequently playing unannounced shows. Within the last few years, the car audio field has seen a variety of subwoofers utilizing non-round shapes. Though some of them occasionally toured through the late 1990s under the name "The Other Ones", they mainly chose to pursue various solo projects, most notably Bob Weir's Ratdog, Phil Lesh and Friends and Mickey Hart's music for the 1996 Olympics. Some waterproof models work underwater, or placed on the underside of a deck, to create sound. Following Garcia's death in 1995, the remaining members formally decided to disband.

They can be placed on a large flat surface create a large, though poor, loudspeaker. These records largely featured the band's laid-back acoustic musicianship and more traditional song structures. These devices typically don't provide as much vibration per dollar as simply placing a reasonably priced subwoofer against the back of the furniture, so at their current prices are most useful for not disturbing anyone than vibrating to audio. The 1969 live album Live/Dead did capture more of their essence, but commercial success did not come until Workingman's Dead and American Beauty, both released in 1970. However, some feel that the vibrations are a little disembodied from the rest of the auditory experience. The early records reflected the Dead's live repertoire — lengthy instrumental jams with guitar solos by Garcia, best exemplified by "Dark Star" — but, lacking the energy of the shows, did not sell well. These have recently emerged as a device, called a tactile transducer by at least one brand, that attaches to furniture, such as one's seat, via which vibrations are transmitted to the body; they can be connected to an amplifier as per a normal loudspeaker. Most connoisseurs believe that the Grateful Dead's true spirit was rarely well captured in studio performance.

Since much bass is felt, sub-bass can be augmented using tactile transducers. Often (both in performance and on recording) the Dead left room for exploratory, spacey soundscapes—a form of psychedelia that might run the gamut from strange to exotically beautiful. Indeed, hearing loss is one concern, alongside space considerations and neighbour relations. Individual tunes within their repertoire could be identified under one of these stylistic labels, but overall their music drew on all of these genres and more, frequently melding several of them. Such "SPL wars" have drawn much attention to subwoofers in general, but subjective competitions of sound quality ("SQ") has not gained similar popularity. The Dead were not inclined to fit their music to an established category such as pop rock, blues, folk rock, or country/western. Naturally, these sound levels are not safe for humans. This was natural, because they played psychedelic dances, open-air park events, and closed-street Haight-Ashbury block parties.

In international car stereo competitions, over 100 subwoofers driven by some 100,000 watts have been used to generate over 180 decibels. The Grateful Dead’s early music (in the mid 1960s) was part of the process of establishing what "psychedelic music" was, but theirs was essentially a "street party" form of it. Curiously, some car stereo enthusiasts seem intent on producing ultra-high sound pressure levels in the confines of their vehicle's cabin. Listening to their first LP (The Grateful Dead, Warner Brothers, 1967), one is also reminded that it was recorded only a few years after the big "surfing music" craze; that California rock-music sound seeped in, to some degree, as well. Typically, subwoofers are installed in the trunk. But the new Dead music was also naturally different from bands like Dylan's or the Spoonful, partly because their fellow musician Phil Lesh came out of a schooled classical and electronic-music background, while Ron "Pigpen" McKernan was a no-nonsense deep blues lover and drummer Bill Kreutzmann had a jazz background. The automobile is ideal for the "hidden" subwoofer approach due to space limitations of locations such as doors (ignoring the acoustic problems of a car interior). It was natural for Jerry Garcia and Bob Weir, each of whom had been immersed in the American folk-music revival of the late 1950s and early '60s, to be open-minded toward electric guitars.

All of these subwoofers tend to have in-built amplification. Grateful Dead members have said that it was after attending a concert by the touring New York "folk-rock" band The Lovin' Spoonful that they decided to "go electric." Gradually, many of the East-Coast American folk musicians, formerly luminaries of the coffee-house scene, were moving in the electric direction. These can be purchased separately, to be added to an existent system or when considering a set of speakers; or as part of a high-end speaker package. Former folk-scene star Bob Dylan had recently put out a couple of records featuring electric instrumentation. On the other hand, high-end domestic subwoofers are manufactured by companies such as M&K, HSU, Velodyne, SVS, and REL. The Grateful Dead formed during the era when bands like the Beatles and Rolling Stones were dominating the airwaves. Further, small satellites systems typically cross over the bass above 90 Hz, introducing the subwoofer "localization effect". Kahle claimed that the whole affair had been a "misunderstanding," but John Perry Barlow, one of the band's lyricists, claimed that concerts had been restored after several members of the band had backed away from their earlier opposition after realizing they had created a public relations "catastrophe.".

They are too weak to play any real deep bass. Several days after the announcement that the concerts had been removed, Brewster Kahle of Archive.Org made a cryptic announcement that audience tapes of the concerts would again become available, though so-called board tapes would only be available as streaming audio. Most multimedia "subwoofers" should probably have been called "woofers". The removal of the Dead's concerts from Archive.org created a storm of protest, in addition to a rapidly spreading boycott of the band's remaining commercial products. Particularly among low cost systems, however, it may be little more than a marketing device: it's not likely that a small woofer in a compact cabinet will have better bass performance than good speakers; as mentioned, the term "subwoofer" is no guarantee of particular bass performance. However, David Gans, host of a syndicated radio program, "The Grateful Dead Hour," speculates that the band is motivated by money, noting "when they were making $50 million a year on the road, there wasn't a lot of pressure to monetize their archives."[5]. The physically separate subwoofer/satellite arrangement has been popularised by lifestyle systems, such as those manufactured by Bose, and multimedia speakers, examples of which include the Klipsch ProMedia. The band's spokesman, Dennis McNally, claimed such a repository "doesn't represent Grateful Dead values" because it doesn't foster one-to-one connections between fans.

("Bass management" or "Small" mode for the satellite speakers is common among equipment such as Dolby Digital surround processors/receivers.). In November of 2005, the Dead's management outraged fans by asking the operators of the popular Internet Archive (archive.org) to stop making concerts available for download, and to offer only streamcast recordings instead. All low frequency information is sent to the subwoofer. Not surprisingly, these Internet-only albums have met with the same success as their CD-based brethren. Note that only one subwoofer need be used, even when using 5 or more satellite speakers—e.g., for surround sound. In the summer of 2005 the Dead began offering downloadable versions of both their existing live releases, and a new internet-only series, The Grateful Dead Download Series, that is available exclusively through both their own GDStore.com (which offers the albums in both 256 kbit/s mp3 files and FLAC files -- a preferred audio standard for those who archive Dead and other fan-made live recordings on the Internet) and the iTunes Music Store (which offers them in their 128 kbit/s AAC format). Harmonics at higher frequencies (from the satellites) can then be used, by the auditory system, to calculate the directional information. All three series of releases continue to this day.

(e.g., it has been suggested subwoofer(s) be placed in the corner of the room, far from large room openings, and closer to the listener.) This is possible since low bass frequencies have a long wavelength; hence there is little difference between the information reaching our left and right ears, and we are unable to easily locate their direction below 90 Hz. A series of videos began to trickle out of "The Vault", starting with View From the Vault (recorded in Pittsburgh on July 8, 1990 at Three Rivers Stadium) and View from the Vault II (recorded in Washington, DC on June 14, 1991 at RFK Stadium); these releases are accompanied by the simultaneous release of multi-disc soundtrack CDs of the same shows represented on the videos. Physical separation of subwoofer and "satellite" speakers not only enables placement in an inconspicuous location, but since sub-bass frequencies are particularly sensitive to location (e.g., due to room resonance and 'modes'), the best position of the subwoofer may not be where the "satellite" speakers are located. There have been at least 36 Dick's Picks releases as of November 2005. (e.g., some speakers include a subwoofer in the lower portion of the cabinet.). Starting in 1991, the Grateful Dead released numerous live concerts from their archives in two concurrent series: the From the Vault releases are multi-track remixes, whereas the Dick's Picks series (named for the band's late archivist, Dick Latvala) are based on two-track mixes made at the time of the recording. Thus, subwoofers may be part of a package that includes satellite speakers, purchased separately, or built into the cabinet of a conventional loudspeaker. After the show, a deadhead with the post-show munchies could probably find a grilled cheese sandwich made on a camping stove at the door of a VW bus by a friendly hippie.

Rather, the intention may be to use small main ("satellite") speakers (of which there are 2 for stereo, and 5 or more for surround sound) and locate ("hide") the subwoofer elsewhere; to augment an existent speaker to relieve it of reproducing bass and gain output level and/or quality; or because high levels of low bass are required and using a dedicated amplifier and speaker provides the output level and quality required. (Some deadheads would earn their entire touring budget selling such items.) Concertgoers typically congregated in the lot for hours before a show, playing guitar, hacky sacking and getting high. A conventional woofer may reproduce frequencies up to 200, 300, or in a two-way speaker a mid-woofer (paired with a tweeter) also handles midrange, up to 3,000 hertz or more. One could find items for sale at many cars in the lot, from grilled cheese sandwiches to "kind" brews and nitrous balloons. It should be noted that a subwoofer does not necessarily provide superior bass performance to large conventional loudspeakers; they are merely subwoofers because they ought to reproduce only the lowest frequencies. The parking lot of a Grateful Dead concert was as much a part of the event as the concert itself. Considering they operate outdoors and the average listener is hundreds or even thousands of feet away from the devices, they are impressive. Whatever their differences, the deadheads are often considered to be the most devoted fans in the rock world.

People who are accustomed to bass in home audio systems and car audio many times think that the subs in a concert PA system aren't putting out that much. The late 1980s and 90s saw the Grateful Dead attracting a huge following that left many long time deadheads in doubt as to whether people were coming out for shows to see the band, or simply to be part of the atmosphere. On average, music applications generally require less capability than movie soundtracks in the very lowest octave, but modern popular music is changing this preconception and this is reflected in the design attention given to the subwoofer section of the PA system nowadays compared to a couple of decades ago. These new followers were deemed "Touchheads" by the more established fans, a reference to their relative inexperience with the band. Pro Audio subs have to be capable of very high output levels – after all, concert venues may seat 10,000s of individuals outdoors. In the 1980s, the band scored a top 40 hit with the song "Touch of Grey" (from In the Dark), which garnered a much younger and more mainstream fandom that was considered sharply different from the traditional Deadheads. A large horn-loaded version called the BassTech-7 can be found in venues such as theme park rides. The band allowed sharing of tapes of their shows, as long as no profits were made on the sale of their show tapes.

Another extreme pro audio device is the ServoDrive ContraBass, where the driver's cone is moved using a belt-drive coupled servo motor. For many years, almost all of their shows would have dedicated taping sections. Intended for applications such as night club installations and concert sound reinforcement this cabinet is still popular with PA system equipment rental companies. In contrast to many other bands, the Grateful Dead encouraged their fans to tape their shows. A now-discontinued but popular Electro-Voice subwoofer employs a "Manifold Technology" configuration to fit four 18-inch drivers into a relatively compact enclosure. Many of their fans, commonly referred to as Deadheads, would follow the band on tour. One of the most powerful subs manufactured can play as low as 25 Hz and can cover thousands of feet and uses two 12-inch woofers on a 13-foot (4 m) long folded horn (the EAW bh822e or KF940). Bitchin'!!" Kelly/Mouse Studios then began including the icon in most of the band's posters and graphics.

12-inch drivers in very large folded horns are also becoming popular now. The band's skull-and-lightning-bolt icon is called Steal Your Face, a sanitized version of the icon's original name, Skull Fuck, which was a direct reflection both of the anti-establishment sensibilities of the times and of the Grateful Dead's role as a voice for the "hippies." Garcia and McKernan are said to have been tripping on ancient icons from the Aztec or Mayan visual lexicon, particularly the celebration of Dia de los Muertos (Day of the Dead) and to have exclaimed, "Fuck they're all skulls.. For electronic music events with at least a thousand audience members there are often more than 20 double-18-inch cabinets on either side of the stage. '. They are usually direct radiating in a ported enclosure built of 13-ply birch. The rising cost of fuel and personnel, as well as friction among many of the newer crew members (and associated hangers-on), contributed to the band's 1974 "retirement." The Wall of Sound was disassembled, and when the Dead began touring again in 1976, it was with a more logistically practical sound system. The 18-inch woofer driver is the primary majority device for pro audio applications. The Wall's quadraphonic format never translated well to soundboard tapes made during the period, as the sound was compressed into an unnatural stereo format and suffers from a pronounced tinniness.

Similar popular PA systems are made by JBL, Electro-Voice, EAW and Meyer Sound. Because this was often switched to the vocal mikes, many of Lagin's parts were lost in the mix. Popular sub systems in use currently are made by companies such as EAW but usually the subs will be made by the manufacturer of the rest of the PA system such as L-Acoustics and their V-Dosc Line Array with its matching dual 18-inch sub cabinets. Synthesist Ned Lagin, who toured with the group throughout much of 1974, never received his own dedicated input into the system, and was forced to use the vocal subsystem for amplification. Many times the subs are not part of the entire sound mix but are specifically fed just kick drum, bass guitar and other low-frequency content from a separate output on the main mixing console. The Wall of Sound was very efficient for its day, but it did have its pitfalls in addition to its sheer size. Similar systems are used in theme park rides, such as "Days of Thunder," which uses sound to simulate a physical impact. Though the initial framework and a rudimentary form of the system was unveiled in February 1973 (ominously, every speaker 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 in 1974.

This was simply a set of large sub-woofers designed to create infra-bass (felt but not heard). Four semi trucks and 21 crew members were required to haul and set up the 75-ton Wall. An unusual example of the use of sub-woofers came with the release of Earthquake in 1974 where they used a system called Sensurround to create a feeling of an earthquake. It was the largest portable sound system ever built (although "portable" is a relative term). The bulk of the sound system is usually "flown" (suspended from the ceiling by chain hoists) and the subs are usually stacked on the stage or the ground in front of the stage to the left and right of the performance space. It was capable of producing acceptable sound at a quarter mile, and excellent sound for up to six hundred feet, when the sound began to be distorted by wind. Large concert sound systems always use subwoofers (referred to as "subs" by the engineers and crew). The Wall of Sound used 89 300-Watt solid state and three 350-Watt tube amplifiers to produce 26,400 total Watts RMS of audio power.

Note that movie theatre speakers (situated behind a perforated screen) typically use 15" drivers (woofers), so the use here is only to reproduce the lowest frequencies at high sound pressure levels. The signals were summed, the sound that was common to both mics (the sound from the Wall) was cancelled, and only the vocals were amplified. Some of these applications require subwoofers designed for very high sound levels, such as the JBL 4645 – certified for THX movie theatres – which uses an 18" driver (woofer). The vocalist sang into the top microphone, and the lower mic picked up whatever other sound was present in the stage environment. Subwoofers are found in professional applications such as live concerts, movie theatres, various other sound reinforcement applications (ranging from nightclubs to theme restaurants) and studios. The Dead used matched pairs of condenser microphones spaced 60mm apart and run out-of-phase. This track is often used aggressively by mixing artists. Because of this, a special microphone system had to be designed to prevent feedback.

The .1 channel is usually dedicated to extended bass frequencies, for example, the low frequencies of a gunshot, string bass, or thunder. The Wall of Sound was designed to act as its own monitor system, and it was therefore assembled behind the band so the members could hear exactly what their audience was hearing. The need to reproduce these frequencies has increased since older formats, such as vinyl records, have been displaced by digital formats, such as CD, and particularly 5.1 formats such as Dolby Digital, in which the ".1" channel is dedicated solely to the subwoofer. Because each speaker was producing the sound of just one instrument or vocalist, the sound was exceptionally clear and intermodulation distortion between instruments was nonexistent. Subwoofers are usually powered by a high power amplifier, and often an electronic crossover ensures that higher frequencies will not be directed to the subwoofer. One channel amplified the bass drum, and two channels amplified the other drums and cymbals in stereo. Diameter tends to be advantageous because low frequencies involve shifting a great deal of air; a recent trend has been for high excursion, i.e., how far the cone can linearly travel from its resting position; for example, some can move as much as 2.5" in or out, yielding an overall displacement of 5" (this is controlled movement range). Phil Lesh's bass was quadraphonic, each of the four strings having its own channel and set of speakers.

Subwoofers use drivers (woofer) with cones typically coming in 10" or 12" sizes, but can be as large as 34", and as small as 4". Vocals, lead guitar, rhythm guitar, and piano each had their own channel and set of speakers. . After Owsley Stanley was released from prison in late 1972, he, along with Dan Healey, Mark Raizene of the Grateful Dead's sound crew, and Ron Wickersham, Rick Turner, and John Curl of Alembic Inc accomplished this by essentially combining eleven separate sound systems. It is difficult for small loudspeakers to reproduce frequencies below 40 Hz, especially above 100 dB, and so it is often advantageous to use a loudspeaker dedicated to this task. The desire driving the development of the Wall of Sound was for a distortion-free sound system that could serve as its own monitor system. So-called subwoofers which reproduce frequencies from about 35 Hz to about 150 Hz are more properly described as bass modules than true subwoofers. The band also welcomed Dan Healy into the fold on a permanent basis that year; Healy was a more superior engineer than Stanley and would mix the Grateful Dead's live sound until 1993.

Frequencies 16 Hz or lower are more felt than heard. Because of this, Alembic would play an integral role in the research, development, and production of the Wall of Sound. A subwoofer is a loudspeaker which reproduces bass frequencies from about 5 Hz to about 90 Hz. In 1971, the band purchased their first solid sound system from Alembic Inc Studios. After Stanley was placed in jail for LSD production in 1970, the group briefly used house PAs, but ultimately found them to be less reliable than the systems conceived by their former soundman. Stanley's sound systems were delicate and finicky, and frequently brought shows to a halt with technical issues.

The band were never satisfied with the house system anywhere they played, so in their early days, soundman Owsley "Bear" Stanley designed a PA and monitor system for them. The Wall of Sound was an enormous sound system designed specifically for the Grateful Dead. Musically this may be illustrated in that the band not only improvised within the form of a song, yet also improvised with the forms. A hallmark of their concert sets were continuous sets of music where each song would blend into the next (a segue).

The band was famous for its extended jams, which showcased both individual improvisation as well as a distinctive "group-mind" improvisation where each of the band members improvised individually, while still blending together as a cohesive musical unit, often engaging in extended improvisational flights of fancy. Their numerous studio albums were generally collections of new songs that had been initially played in concert. (They also appeared at the legendary Monterey Pop Festival in 1967 and the even more famous Woodstock Festival in 1969; their largest concert audience came in 1973 when they played, along with The Allman Brothers Band and The Band, before an estimated 600,000 people at the Summer Jam at Watkins Glen.). With the exception of 1975, when the band was on "hiatus" and played only four concerts together, the Grateful Dead toured regularly around the USA from the winter of 1965 until July 9, 1995—with a few detours to Canada, Europe and three nights at the Great Pyramid of Giza in Egypt in 1978.

In their early years, the band was also dedicated to their community, the Haight-Ashbury area of San Francisco, making available free food, lodging, music and health care to all comers; they were the "first among equals in giving unselfishly of themselves to hippie culture, performing 'more free concerts than any band in the history of music'" ^[4]. They promoted a sense of community among their fans, who became known as Deadheads, many of whom followed their tours for months or years on end. The Grateful Dead are well-known for their near constant touring throughout their long career in music. Owsley "Bear" Stanley was the Grateful Dead's soundman for many years; he was also one of the largest suppliers of LSD.

Robert Hunter and John Perry Barlow were the band's primary lyricists. For a year and a half, Welnick was often joined by special guest Bruce Hornsby on piano. Almost immediately, former Tubes keyboardist Vince Welnick joined on keyboards and vocals. He became the third Dead keyboardist to die.

Brent Mydland was the keyboardist for the Dead for 11 years until his death in 1990. Keith Godchaux died in a car accident in 1980. Keith and Donna left the band in 1979, and Brent Mydland joined as keyboardist and vocalist. In early 1972, Keith's wife, Donna Jean Godchaux, joined the Dead as a backing vocalist.

Two years later, in late 1971, Pigpen was joined by another keyboardist, Keith Godchaux, who played grand piano alongside Pigpen's Hammond B-3 organ. Tom "TC" Constanten played keyboards alongside Pigpen from 1968 to 1970. Hart rejoined the Dead for good in 1975. Hart quit the Grateful Dead in 1971, embarrassed by the financial misdealings of his father, Dead money manager Lenny Hart, and leaving Kreutzmann once again as the sole percussionist.

Bill Kreutzmann played drums, and in 1968 was joined by a second drummer, New York native Mickey Hart, who also played a wide variety of other percussion instruments. All of the previously mentioned Grateful Dead members shared in vocal performance of songs, although none of them had a particularly strong or tuneful voice. Ron "Pigpen" McKernan played keyboards, harmonica and was also a group vocalist until shortly before his death in 1973 at the age of 27. Bob Weir, the youngest original member of the group, played rhythm guitar.

Classically-trained trumpeter Phil Lesh played bass guitar. One of the main influences on his musical style was bluegrass music, and Garcia also performed-—on banjo, his other great instrumental love-—in the bluegrass band Old and in the Way with mandolinist David Grisman. Jerry was a native of San Francisco and grew up in the Excelsior District. De facto bandleader Jerry Garcia was the lead guitarist for the band—-although he was often seen both by the public and the media as 'leader' or a primary spokesperson for the Grateful Dead, he was reluctant to be seen that way, especially since Garcia and the other group members saw themselves as equal participants and contributors to their collective musical and creative output.

. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world." ^[3]. Their musical influences varied widely with input from the psychedelic music of the era, combined with blues, jazz, rock and roll, and bluegrass. The Grateful Dead became the de facto resident band of Ken Kesey's Merry Pranksters, with the early sound heavily influenced by Kesey's LSD-soaked Acid Tests, as well as R&B.

62), "...Jer (Garcia) picked up an old Britannica World Language Dictionary...(and)...In that silvery elf-voice he said to me, 'Hey, man, how about the Grateful Dead?'". Some claim it was a Funk & Wagnalls, others an Oxford Dictionary, but according to Phil Lesh, in his biography (pp. The name "Grateful Dead" was chosen at random from a dictionary. The Grateful Dead most embodied "all the elements of the San Francisco scene and came, therefore, to represent the counterculture to the rest of the country" ^[2].

(Also see entry for the San Francisco Sound.) Of these bands, the Grateful Dead had members with arguably the highest level of musicianship, including banjo and guitar player Jerry Garcia, blues musician "Pigpen" McKernan, the classically trained Phil Lesh and drummer Bill Kreutzmann ^[1]. Many bands from this area, such as Jefferson Airplane, Big Brother & the Holding Company, and Santana, went on to national fame, giving San Francisco an image as a center for the hippie counterculture of the era. Eventually, they moved to the Haight-Ashbury section of San Francisco. The Grateful Dead's career began under the name "The Warlocks" in Palo Alto, California, but as another band was already recording under that name (interestingly, it was the future Velvet Underground), the band had to change its name in order to get a recording contract.

Many followers referred to the band simply as The Dead. These so-called Deadheads were renowned for their dedication to the band's music. Some of the band's fans followed the band from concert to concert for years. Formed in 1965 in San Francisco from the remnants of another band, "Mother McCree's Uptown Jug Champions," the Grateful Dead were known for their unique and eclectic songwriting style—which fused elements of rock, folk music, bluegrass, blues, country, and jazz—and for live performances of long modal jams.

The Grateful Dead was an American psychedelia-influenced rock band. 36: September 21, 1972 from the Spectrum, Philadelphia, Pennsylvania. Vol. 35: August 7, 1971 from San Diego, California and August 24, 1971 from Chicago, Illinois with bonus tracks of August 6, 1971 from the Palladium, Hollywood, California.

Vol. 34: November 5, 1977 from the Community War Memorial, Rochester, New York with bonus tracks of November 2, 1977 from the Seneca College Field House, Toronto, Ontario. Vol. 33: October 9 and 10, 1976 from the Oakland Stadium, Oakland, California (one of Bill Graham's Days on the Green).

Vol. 32: August 7, 1982 from the Alpine Valley, East Troy, Wisconsin. Vol. 31: August 4 and 5, 1974 from the Philadelphia Civic Center, Philadelphia, Pennsylvania and August 6, 1974 from the Roosevelt Stadium, Jersey City, New Jersey.

Vol. 30: March 28, 1972 from the Academy of Music, New York City and March 25, 1972 (including five songs with Bo Diddley). Vol. 29: May 19, 1977 from the Fox Theatre, Atlanta, Georgia and May 21, 1977 from the Lakeland Civic Arena, Lakeland, Florida.

Vol. 28: February 26, 1973 from the Pershing Municipal Auditorium, Lincoln, Nebraska and February 28, 1973 from the Salt Palace, Salt Lake City, Utah. Vol. 27: December 16, 1992 from the Oakland Coliseum Arena, Oakland, California.

Vol. 26: April 26, 1969 from the Electric Theater, Chicago, Illinois and April 27, 1969 from the Labor Temple, Minneapolis, Minnesota. Vol. 25: May 10, 1978 from the Veterans Memorial Coliseum, New Haven, Connecticut and May 11, 1978 from the Springfield Civic Center, Springfield, Massachusetts.

Vol. 24: March 23, 1974 from the Cow Palace, Daly City, California. Vol. 23: September 17, 1972 from the Baltimore Civic Center, Baltimore, Maryland.

Vol. 22: February 23 and 24, 1968 from the Kings Beach Bowl, Lake Tahoe, California. Vol. 21: November 1, 1985, from the Richmond Coliseum, Richmond, Virginia and some tracks from September 2, 1980.

Vol. 20: September 25, 1976 from the Capital Center, Landover, Maryland and September 28, 1976 from the Onondaga County War Memorial, Syracuse, New York. Vol. 19: October 19, 1973 from the Fairgrounds Arena, Oklahoma City, Oklahoma.

Vol. 18: February 3, 1978 from the Dane County Coliseum, Madison, Wisconsin and February 5, 1978 from the Uni-Dome, Cedar Falls, Iowa. Vol. 17: September 25, 1991 from the Boston Garden, Boston, Massachusetts with two songs from March 31, 1991.

Vol. 16: November 8, 1969 from the Fillmore, San Francisco, California. Vol. 15: September 3, 1977 from the Raceway Park, Englishtown, New Jersey.

Vol. 14: November 30 and December 2, 1973 from the Boston Music Hall (now Symphony Hall), Boston, Massachusetts. Vol. 13: May 6, 1981 from the Nassau Coliseum, Long Island, New York.

Vol. 12: June 26, 1974 from the Providence Civic Center, Providence, Rhode Island and June 28, 1974 from the Boston Garden, Boston, Massachusetts. Vol. 11: September 27, 1972 from the Stanley Theater, Jersey City, New Jersey.

Vol. 10: December 29 and 30, 1977 from the Winterland, San Francisco, California. Vol. 9: September 16, 1990 from Madison Square Garden, New York City.

Vol. 8: May 2, 1970 from Harpur College, Binghamton, New York. Vol. 7: September 1974 from the Alexandra Palace, London, England.

Vol. 6: October 14, 1983 from the Hartford Civic Center, Hartford, Connecticut. Vol. 5: December 26, 1979 from the Oakland Arena, Oakland, California.

Vol. 4: February 13 and 14, 1970 from the Fillmore East, New York City. Vol. 3: May 22, 1977 from the Hollywood Sportatorium, Hollywood, Florida.

Vol. 2: October 31, 1971 from the Ohio Theatre, Columbus, Ohio. Vol. 1: December 19, 1973 from Tampa, Florida.

Vol. The Complete Fillmore West 1969 (2005: boxed set, live). Rare Cuts and Oddities 1966 (2005). Beyond Description (2004: boxed set, consisting of the Dead's years with Grateful Dead Records and Arista Records, 1973-1989).

The Very Best of The Grateful Dead (2003: compilation). Postcards of the Hanging (2002: live compilation). The Golden Road (2001: boxed set, consisting of the Dead's years with Warner Brothers Records, 1967-1972). So Many Roads 1965-1995 (1999: boxed set).

Fallout from the Phil Zone (1997: live compilation). The Arista Years (1996: compilation). Grateful Dead 1977-1995 (1996: compilation). Grayfolded (1996: live compilation).

Infrared Roses (1991: live compilation). Without a Net (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dozin' at the Knick (1990: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dylan & The Dead (live, with Bob Dylan) (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland).

Built to Last (1989: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). In the Dark (1987: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Dead Set (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Reckoning (1981: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland).

Go to Heaven (1980: Garcia/Weir/Lesh/Kreutzmann/Hart/Mydland). Godchaux). Godchaux/D. Shakedown Street (1978: Garcia/Weir/Lesh/Kreutzmann/Hart/K.

What a Long Strange Trip It's Been (1977: compilation). Godchaux). Godchaux/D. Terrapin Station (1977: Garcia/Weir/Lesh/Kreutzmann/Hart/K.

Godchaux). Godchaux/D. Blues for Allah (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux).

Godchaux/D. One From the Vault (1975: Garcia/Weir/Lesh/Kreutzmann/Hart/K. Godchaux). Godchaux/D.

Steal Your Face (1974: Garcia/Weir/Lesh/Kreutzmann/K. Godchaux). Godchaux/D. Grateful Dead From the Mars Hotel (1974: Garcia/Weir/Lesh/Kreutzmann/K.

Godchaux). Godchaux/D. Wake of the Flood (1973: Garcia/Weir/Lesh/Kreutzmann/K. Skeletons from the Closet (Best of the Grateful Dead) (1973: compilation).

Godchaux). Godchaux/D. Europe '72 (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Godchaux).

Godchaux/D. Hundred Year Hall (1972: Garcia/Weir/Lesh/Kreutzmann/McKernan/K. Grateful Dead (aka Skull & Roses) (1971: Garcia/Weir/Lesh/Kreutzmann/McKernan). American Beauty (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan).

Workingman's Dead (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). History of the Grateful Dead, Volume One (Bear's Choice) (1970: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). Live/Dead (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten). Aoxomoxoa (1969: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan/Constanten).

Two from the Vault (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). Anthem of the Sun (1968: Garcia/Weir/Lesh/Kreutzmann/Hart/McKernan). The Grateful Dead (1967: Garcia/Weir/Lesh/Kreutzmann/McKernan). Vince Welnick - keyboards, vocals (1990 - 1995).

Brent Mydland - keyboards, vocals (1979 - 1990). Donna Jean Godchaux - vocals (1972 - 1979). Keith Godchaux - keyboards (1971 - 1979). Tom Constanten - keyboards (1968 - 1970).

Ron "Pigpen" McKernan - keyboards, vocals, harmonica, percussion (1965 - 1973). Mickey Hart - drums (1967 - 1971, 1975 - 1995). Bill Kreutzmann - drums (1965 - 1995). Phil Lesh - bass, vocals (1965 - 1995).

Bob Weir - rhythm guitar, vocals (1965 - 1995). Jerry Garcia - lead guitar, vocals (1965 - 1995).