From the Vault: Property from the Grateful Dead and Friends

Property of Strider Shurtliff [Power Amplifier] McIntosh MC-30 Monaural power amplifier (8 x 8 x 13’’). Chrome and black chassis, 300 watts. Tubes: 2-1641 output, 2-12AX7, 12AU7, 12BH7, 5U4. With power supply. Worn and rusted. A scarce early McIntosh tube amp Produced from July 1954-1962, MC-30’s were heavily used by the Dead prior to their switch over to solid state power amplifiers. The MC-30’s were, perhaps, how the Dead first came to prefer McIntosh amplifiers, as Owsley Stanley became a convert around the time of the production of the MC-30: “The MC-30 and MC-60 became cornerstones of McIntosh’s amplifier line, and McIntosh also expanded into the home loudspeaker and consumer amplifier/tuner market ... By the early ‘60s, the brand was widely adopted by audiophiles, Bear included” (Jackson 32). “Big” Steve Parish: “These extremely rare old tube McIntosh amps were purchased by Owsley for his P.A. system experiments at Alembic studios, and were used at Altamont. As the years passed, Bear gave them to Ram Rod to use for his home speaker system.” REFERENCE Jackson, Blair, Grateful Dead Gear (2006). For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 13: [Power Amplifier] | Part of Owsley’s P.A. experiments, used at Altamont

[power amplifier] | part of owsley’s p.a. experiments, used at altamont

View 1 of Lot 14: [Power Amplifier] | Part of Owsley’s P.A. experiments, used at Altamont

Property of Grateful Dead Productions Jerry Garcia McIntosh MC 2500 Stereo power amplifier (10.5 x 19 x 17’’), 500 watts per channel or 1000 watts monoblock, with anodized gold and black panel. Top panel with duct tape reading “Steve” to center; remnants of adhesive & paint to top and right edge. Serial number: CS2233. “Big Steve" Parish: “Jerry used this Mac 2500 for a couple of shows, and then gave it to John Kahn in the Jerry Garcia Band.” This amp was used on tour by Garcia’s side project, the Jerry Garcia Band. The band was formed in 1975 as a place for Garcia to explore his musical interests beyond the scope of the Dead. The side project predominantly played covers, focusing less on experimental and world music influences, and instead drawing more prominently from rhythm and blues, reggae, gospel, and Americana—their “repertoire came from Motown and Trenchtown, Chicago Blues and Southern gospel, Irving Berlin and Mick Jagger, Hoagy Carmichael and Van Morrison” (Dodd and Spaulding, 291). Garcia’s musical taste was wide ranging, and the band was an extremely important outlet for his creativity; it remained his most important side project, spanning twenty years until his death. Produced from 1980-1990. REFERENCE Dodd, David, Diana Spaulding. The Grateful Dead Reader. Oxford: Oxford University Press, 2002 — For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 112: Jerry Garcia | MC 2500, used in JGB

jerry garcia | mc 2500, used in jgb

Property of Grateful Dead Productions Jerry Garcia McIntosh MC 2500 Stereo power amplifier (10.5 x 19 x 17’’), 500 watts per channel or 1000 watts monoblock, with anodized gold and black panel. Front panel with white tape reading “SUB” above left power meter, green tape reading “384” below right power meter, Steal Your Face emblem below power guard. Serial number: CS2203. This amp was used on tour by Garcia’s side project, the Jerry Garcia Band. The band was formed in 1975 as a place for Garcia to explore his musical interests beyond the scope of the Dead. The side project predominantly played covers, focusing less on experimental and world music influences, and instead drawing more prominently from rhythm and blues, reggae, gospel, and Americana—their “repertoire came form Motown and Trenchtown, Chicago Blues and Southern gospel, Irving Berlin and Mick Jagger, Hoagy Carmichael and Van Morrison” (Dodd and Spaulding, 291). Garcia’s musical taste was wide ranging, and the band was an extremely important outlet for his creativity; it remained his most important side project, spanning twenty years until his death. Produced from 1980-1990.

View 1 of Lot 113: Jerry Garcia | MC 2500, used in JGB

Property of Strider Shurtliff [Power Amplifier] McIntosh MC-30 Monaural power amplifier (8 x 8 x 13’’). Chrome and black chassis, 300 watts. Tubes: 2-1641 output, 2-12AX7, 12AU7, 12BH7, 5U4. With power supply. Worn and rusted. An early McIntosh tube amp Produced from July 1954-1962, MC-30’s were heavily used by the Dead prior to their switch over to solid state power amplifiers. The MC-30’s were, perhaps, how the Dead first came to prefer McIntosh amplifiers, as Owsley Stanley became a convert around the time of the production of the MC-30: “The MC-30 and MC-60 became cornerstones of McIntosh’s amplifier line, and McIntosh also expanded into the home loudspeaker and consumer amplifier/tuner market ... By the early ‘60s, the brand was widely adopted by audiophiles, Bear included” (Jackson 32). “Big” Steve Parish: “These extremely rare old tube McIntosh amps were purchased by Owsley for his P.A. system experiments at Alembic studios, and were used at Altamont. As the years passed, Bear gave them to Ram Rod to use for his home speaker system.” REFERENCE Jackson, Blair, Grateful Dead Gear (2006) For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 15: [Power Amplifier] | Part of Owsley’s P.A. experiments, used at Altamont

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel with tape reading “1011” below power meters, duct tape reading “M-9” below right power meter. Serial number: ED010. With original white Anvil rolling road case, front with Grateful Dead sticker, lid with Steal Your Face stickers, green tape reading “189,” white tape with “Q2 EQP.” “Big Steve" Parish: “This was used in the Wall of Sound for Bob Weir’s guitar, later used in a keyboard rig for Brent.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 40: Wall of Sound | Bob Weir’s MC 2300

wall of sound | bob weir’s mc 2300

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel: left handle removed but present, New Riders of the Purple Sage sticker below power meters, white tape reading “1010” over sticker, duct tape reading “M-3” above McIntosh emblem, Steal Your Face logo sticker below McIntosh emblem. Right panel: Oklahoma University sticker. Left panel: USMC sticker, “Grateful Dead Alaska Get-Away June 19, 20, 21, 1980 sticker” with Steal Your Face logo. Serial number: 1Y896. With original orange Anvil rolling road case; Grateful Dead sticker to front, “019” written in white on lid, address label reading “Date: 8/15 Name: Dead” on lid. “Big Steve" Parish: “This amp was used in the Wall of Sound, rack mounted for guitar amplification.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 41: Wall of Sound | MC 2300

wall of sound | mc 2300

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel: metal Steal Your Face emblem above McIntosh emblem, tape reading “1008” below power meters, duct-tape reading “M-10,” “1Y547” in marker at upper left corner. Serial number: 1Y547. With original orange Anvil rolling road case, with Grateful Dead and Steal Your Face stickers on front, tape reading “M-2” on left side, “K25A” and “2R” in felt tip on right, “K14A” stenciled on sides. “Big” Steve Parish: “This amp was used in the Wall of Sound for the piano cluster.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 38: Wall of Sound | MC 2300, for the piano cluster

wall of sound | mc 2300, for the piano cluster

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel: white tape reading “1009” below power meters, duct tape reading “M-7” above McIntosh emblem, Steal Your Face sticker below McIntosh emblem. Right panel: Hard Truckers Speakers ticker. Left panel: Steal Your Face sticker. Serial number: 1Y621. With original orange Anvil rolling road case, with Grateful Dead sticker to front, and “K27A” in felt-tip to right side. “Big” Steve Parish: “This amp was used in the Wall of Sound.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 39: Wall of Sound | MC 2300

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel: “1Y649” in marker above power meters, blank address label taped below power meters. Serial number: 1Y649. Right panel: Grateful Dead sticker. With original orange Anvil rolling road case, with Grateful Dead sticker and “K18A” stenciled on front and side. “Big Steve" Parish: “One of the McIntosh 2300 power amps used in the Wall of Sound specifically used to power the mid range vocal cluster, purchased in 1973. K18A was an inventory number from a trip to Europe in 1974. The amp was later used in the keyboard set up for Keith.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 37: Wall of Sound | MC 2300, for the vocal cluster

wall of sound | mc 2300, for the vocal cluster

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp with original road case Solid-state power amplifier (10.5 x 19 x 17"), 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel with two pieces of tape reading “5/1/93” below power meters, empty address label, and Steal Your Face sticker. Right panel with Jet Fuel Only sticker and handwritten notes reading “DR. MON,” “PAIR BOT” [illegible]. Left panel with FM Productions American flag rabbit sticker. Serial number: 1Y421. With original orange Anvil rolling road case, with Grateful Dead sticker and Steal Your Face sticker to front panel; hole in lid. “Big Steve" Parish: “One of the first 2300’s we ever owned, used in the Wall of Sound for mid range vocals, then later used as an amp for Jerry Garcia’s extension speakers in the Wall.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Fuhrman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 43: Wall of Sound | One of the Dead's first MC 2300's

wall of sound | one of the dead's first mc 2300's

Property of Grateful Dead Productions Wall of Sound McIntosh 2300 power amp Solid-state power amplifier (10.5 x 19 x 17"). 300 watts per channel or 600 watts monoblock, with anodized gold and black panel. Front panel with white tape reading “1003” (upside down) below power meters. Serial number: 1Y240. “Big” Steve Parish: “This amp was used in the Wall of Sound for the piano cluster.” The Grateful Dead’s commitment to playing live with the best sound possible lead them to using audiophile rather than commercial sound equipment and the legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Furman, amp technician for the Dead, remembered: “One memorable tour in July, 1973 included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY Photograph © Ed Perlstein. To purchase a print, or view more of Ed Perlstein’s work, visit https://www.musicimages.com/.

View 1 of Lot 42: Wall of Sound | MC 2300, for the piano cluster

Property of Strider Shurtliff [Power Amplifier] McIntosh MI-200 amplifier & power supply, ca. 1960s Monaural power amplifier (8.5 x 10.5 x 19’’). Grey hammertone finish, 200 watts, with power supply, wth M168 output transformer. Tubes: 2-8005 output, 2-6BX7, 2-6AV5, 12AU7, 12AX7, 2-5Y3, 4-5U4. Serial number: 1B035. Worn from use. Rare. Originally designed for industrial applications rather than live concerts, the MI-200’s are exceedingly scarce and desirable among collectors. Versions of the MI-200 were produced from 1953 to 1966. This model, likely ca. 1960s, was used live by the Grateful Dead—a rare and innovative application of industrial technology to live performance. "Big" Steve Parish: “These extremely rare old tube McIntosh amps were purchased by Owsley for his P.A. system experiments at Alembic studios, and were used at Altamont. As the years passed, Bear gave them to Ram Rod to use for his home speaker system.” REFERENCE For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 12: [Power Amplifier] | MI-200, used at Altamont

[power amplifier] | mi-200, used at altamont

Property of Strider Shurtliff [Power Amplifier] McIntosh 50W2 Amplifier & power supply Monaural power amplifier (6.75 x 8.1 x 5.25’’). Grey hammertone finish, 50 watts, with power supply. Tubes: 2-6L6G/1614 output, 2-12AX7, 2-6J5, 2-5U4. Worn from use. Produced by McIntosh from January 1951-August 1955, the MC-50 is rare and highly sought after. These were essential to the Dead’s early sound, particularly for Garcia’s tone. "Big" Steve Parish: “These extremely rare old tube McIntosh amps were purchased by Owsley for his P.A. system experiments at Alembic studios, and were used at Altamont. As the years passed, Bear gave them to Ram Rod to use for his home speaker system.” REFERENCE For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 10: [Power Amplifier] | Owsley’s early sound experiments, used at Altamont

[power amplifier] | owsley’s early sound experiments, used at altamont

Property of Grateful Dead Productions Wall of Sound Budman — Jerry Garcia's Favorite McIntosh 2300 Amplifier Solid-state power amplifier (10.5H x 19W x 17D), 300 watts per channel or 600 watts per monoblock, with anodized gold and black panel. Serial number: 1Y460. With original “Grateful Dead” black rolling road case with stickers and stencils. "Big" Steve Parish: “Jerry played through Fender Twins and they were loud, but everyone always wanted to be louder for the big gig, especially outdoors. Dan Healy figured out how to take a line out from Jerry’s guitar amp, first into a McIntosh 350 tube amp during the early Wall of Sound set up. When the 2300 power amp came out we bought 70 of them, and put them throughout the system, but this is the one that Jerry liked the best and he played through it for years. It really made that Twin sound huge and became part of his signature tone at the time. At some point, Ram Rod stuck that Budweiser Budman sticker on it one day and it’s instantly recognizable as Jerry’s.” Budman was essential to Garcia’s sound and became an icon in and of itself. The Grateful Dead’s commitment to playing live with the best sound possible led them to using audiophile, rather than commercial, sound equipment. The legendary build quality and low distortion of McIntosh fulfilled both the sonic and roadworthy requirements. An afternoon at the legendary Watkins Glen concert further influenced their concert set up, helping pave the way for the Wall of Sound. Janet Furman, amp technician for the Dead, remembered: “One memorable tour in July, 1973, included a stop at the Watkins Glen Jam, held at the famed auto raceway. This all day outdoor concert featured just three super groups – the Grateful Dead, the Band, and the Allman Brothers. But that bill was enough to attract the largest crowd in rock history, if not in all of American history – 600,000, easily topping Woodstock’s smaller but better remembered crowd of 300,000. The Dead would need a massive amount of amplification to reach all those people. At the time, they insisted on using only McIntosh 2300 power amps, an audiophile rather than pro audio product, made in small quantity and hard to find on short notice. The McIntosh factory happened to be near Watkins Glen, in Binghamton in upstate New York. We were already backstage at the concert, and every road in the area was clogged with concert traffic. My assignment was to get five more of those giant amps, any way I could. Sam Cutler, the former Rolling Stones road manager now working for the Grateful Dead, handed me $6000 in cash and the use of a helicopter and pilot. Though it was a weekend and the McIntosh factory was closed, I tracked down the owner at his home. The pilot flew me from the venue to downtown Binghamton. Helicopter landings there were not an everyday affair, and there was great media interest. Flashbulbs popped and reporters stuck microphones in my face. In the summer heat, I was wearing only shorts and a concert T-shirt, with the cash wadded up in my pocket. I met up with the owner, who drove me to the factory and sold me the amps off the production floor. We drove back to town in his station wagon, his wife and kids aboard on their way to a summer vacation, and transferred the amps into the copter. At over 100 lbs each plus two people, it was a heavy load for a small helicopter. We had a very scary moment as we took off, coming within inches of crashing into a highrise building. But back at Watkins Glen, the sight of that enormous crowd from the air was unforgettable. In the moment I landed, delivering the goods, I became an instant hero.” REFERENCE Janet Furman, http://furmanhistory.com/ For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY. Photograph © Bob Minkin. To purchase a print, or view more of Bob Minkin’s work, visit https://minkinphotographystore.com.

View 1 of Lot 36: Wall of Sound | The amp that made Garcia's Twin “sound huge”

wall of sound | the amp that made garcia's twin “sound huge”

Property of Strider Shurtliff Wall of Sound Orange custom road case, manufactured by ZERO Cases, ca. mid-1970s Metal two part case with rubber seal and release valve, custom made for McIntosh 2300 amplifier. 19 x 21 x 20” “Big Steve” Parish: “As we were building the Wall of Sound and we had over 70 Mac 2300 amps powering the Wall. In order to travel with them safely in trucks, we originally found army surplus cases that were military spec. We bought 3 of those and they fit a Mac 2300 perfectly. The orange and purple cases were designed and built by the Zero case company [sic], copied after the military surplus cases and painted with bright colors to identify them. They served us well.”

View 1 of Lot 35: Wall of Sound | Orange road case, custom built for a McIntosh amp

wall of sound | orange road case, custom built for a mcintosh amp

Jerry Garcia Jerry Garcia’s cigarette-burned Fender Twin Shell, ca. 1969 Pinewood frame and black Tolex covering (20 x 26.25 x 10’’), metal tilt back legs, with “Toronto No Smoking Ordinance” affixed to side, with amplifier and speaker removed by Steve Parish. "Big" Steve Parish: “Jerry had this Blackface Twin since 69/70 and used it for years including in the Wall of Sound. It was this one that Healy took a line from into Jerry’s McIntosh 2300 that really made the Twin sound really enormous. He switched out the speakers and amp at some point, but there’s just so much history to this one. You can see all along the top where he would rest his cigarette while playing.”

View 1 of Lot 8: Jerry Garcia | A veteran of too many gigs to count...

jerry garcia | a veteran of too many gigs to count...

Property of Strider Shurtliff Wall of Sound Purple custom road case, manufactured by ZERO Cases, ca. mid-1970s Metal two part case with rubber seal and release valve, custom made for McIntosh 2300 amplifier. 19 x 21 x 20” “Big Steve” Parish: “As we were building the Wall of Sound and we had over 70 Mac 2300 amps powering the Wall. In order to travel with them safely in trucks, we originally found army surplus cases that were military spec. We bought 3 of those and they fit a Mac 2300 perfectly. The orange and purple cases were designed and built by the Zero case company [sic], copied after the military surplus cases and painted with bright colors to identify them. They served us well.”

View 1 of Lot 34: Wall of Sound | Purple road case, custom built for a McIntosh amp

wall of sound | purple road case, custom built for a mcintosh amp

Property of Grateful Dead Productions Jerry Garcia Large custom rack mounted effects cabinet, used on stage with the Grateful Dead, 1990s Mounted effects cabinet (60” x 23.5” x 25.5”). Custom construction by the Dead crew at Ultrasound Studios, of black painted ply board on wheels, opening with removable front and back panels with allen key latches. With the following effects: GT switchable tube pre amp with foot switch Roland M-120 line mixer Boss Octave pedal Boss OC2 Octave pedal Boss Turbo Overdrive OD2 pedal Boss GE7 equalizer Mu-Tron III Boss OD1 overdrive pedal Boss GE7 equalizer pedal MXR Phase 100 pedal Pedals housed in a SRA rack McIntosh MC2300 stereo power amplifier

View 1 of Lot 143: Jerry Garcia | Garcia's last stage rack

jerry garcia | garcia's last stage rack

Property of Strider Shurtliff [Power Amplifier] McIntosh 50W2 Amplifier & power supply Monaural power amplifier (6.75 x 8.1 x 5.25’’). Grey hammertone finish, 50 watts, with power supply. Tubes: 2-6L6G/1614 output, 2-12AX7, 2-6J5, 2-5U4. Worn from use. Produced by McIntosh from January 1951-August 1955, the MC-50 is rare and highly sought after. These were essential to the Dead’s early sound. "Big" Steve Parish: “These extremely rare old tube McIntosh amps were purchased by Owsley for his P.A. system experiments at Alembic studios, and were used at Altamont. As the years passed, Bear gave them to Ram Rod to use for his home speaker system.” REFERENCE For McIntosh restoration questions, please contact Audio Classics in Binghamton, NY

View 1 of Lot 9: [Power Amplifier] | Owsley’s early sound experiments, used at Altamont

View 1 of Lot 11: [Power Amplifier] | MI-200, used at Altamont

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