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That technological concept was derived from fighter pilot microphones and is used today for noise-cancelling headphones.By the late '70s, the concert industry had begun to catch up with the Dead's innovative approaches to live sound.In less than a decade, the Grateful Dead changed the landscape of live music performances. "According to Meyer, the Wall also required the Dead to invent a phase-cancelling microphone to prevent feedback loops, due to the speakers being directly behind the microphones. Blair Jackson By Allen Peng and Gauthier Giacomoni The days of free-form or underground FM radio are revisited during this two-hour music and interview Grateful Dead Documentary, which originally aired June 8, 1969, on San Francisco's KSAN-FM. "And they used a wave measuring device, which was actually invented to test the harmonic strength of metals, and this would measure the room, and you discover which frequencies would resonate too much, others too little," McNally said. Concerts are rewarding partly because your favorite artists are playing your favorite songs, and loud. "And a quarter mile away, you could still feel that sound as a powerful and palpable thing. "Dead Sound," an audio documentary produced by CBS News Radio, follows how the psychedelic rock band the Grateful Dead developed technology and techniques used in concert venues worldwide today.Nobody cared about concert sound in the early 1960's, according to writer Blair Jackson, author of a number of books on the Grateful Dead. "A lot of the other sound engineers copied what they were doing or talked to them about what they were doing and how they were able to isolate instruments, and how they were able to combine instruments in interesting ways in the PA, and give a faithful reproduction of what was actually being played. "He [Stanley] was the guy who pioneered the notion that, hey, some of these movie theaters, movie palaces have pretty good speakers why don't we try that for rock 'n roll," Jackson said. "They turned to movie speakers because most of the research that had been done for high-power, high-quality sound equipment had been done in the 1920's for the moving picture industry, according to Dan Healy, an audio engineer for the Grateful Dead.Healy's goal was to contrive a live sound system that allowed everyone in the audience to feel like they were sitting in front of their dream stereo systems in their living rooms. Track 2-14b is a uncredited "hidden" bonus track, it's a live recording of "Doin' That Rag". It was extraordinary. The offer was extended exclusively through the Grateful Dead's online and mail-order merchandising organization. Band members credit the original concept to Stanley and his Alembic Inc. co-founder, but everyone seems to agree that Healy is the one who figured out how to make it work. Each microphone was actually two thin microphones, one for the vocals and the other to cancel out the sound of the music. Long Strange Trip, directed by Amir Bar-Lev, is an entertaining and thoroughly constructed documentary about the extraordinary journey of the Grateful Dead, a genuine Americana band whose eclectic sound was inspired by rock, blues, folk, soul, R&B, gospel, country, bluegrass and jazz music genres, LSD experimentation and obsessive fans, also known as Deadheads. You can hear the difference in a montage from 1968, 1972, and 1974.Be in the know. Rosie McGee This limited two CD set was only available as a pre-order bonus for the The Golden Road (1965-1973) at www.dead.net. "Jackson said the Grateful Dead were a band of firsts, whether using stage monitors so singers could hear themselves, to using high-fidelity equipment instead of public address equipment. "I mean very early on they got a reputation for having the best sound of any band that was out there touring," Jackson said.

Being that far back from the stage, and I'm talking about just the speakers on the stage," McNally said.

Jackson said the speakers were actually refurbished movie theater equipment. He says over the span of the Grateful Dead's career they accomplished this dream with room to spare. "Then, as the bands got bigger and more popular, they started playing larger places," Jackson said.

"One of the challenges of the Wall was time smear, or the idea that since the speakers were all different distances from the audience, their sound output would not reach their ears simultaneously.John Meyer, president of Meyer Sound, likened it to controlling the water ripples after tossing rocks in the water. "So he put this system together and that became extremely influential. Bob Minkin But it wasn't always like that. Grateful Dead Documentary : April 3rd, 1969 ( 4/3/1969 ) KSAN Radio : " Bonus Disc CD " ( 2 CD Bonus Disc Set ) : DISC ONE : Everybody's Favorite Band Good Ol' Jerry Hyperventilated Jug Mr. Pigpen McKernan Time To Play Louder Bill, Phil & The Warlocks The Acid Tests Quicksilver Raid Tribal Stomp Four Nights Bill, The Drummer "You get all kinds of grating lobes or waves that go everywhere," Meyer said. Jackson said that was because there was no real concert industry until the late 1960's as rock bands became more popular. "I mean, Lord knows it was sort of overkill in a private home," McNally said. "The Grateful Dead and their sound engineers made considerable efforts to improve the listening experience of concertgoers.

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