Dan Healy

And, um, a guy that worked during the '80s with that crew would definitely be interesting.

Like Dan Healy, right? [laughs] He's an old-time guy from the Dead crew.

And then, uh, I'm known for voicing, you know.

I usually make people send me a tape, or I put them in front of the bench and I say, "Oh, you just play for a while and I'll voice this." Uh, I don't know anything about that.

By October 27, 1984, at Berkeley Community Theater, the dead had formalized a dedicated tapers section at shows.

Dan Healy, their sound man, actually took an interest in how the tapes sounded.

because in a sense they reflected on his work, mixing the band.

They didn't just tolerate recording, they built infrastructure for it.

Bills don't stop because your sound man's locked up, so they brought in outside engineers, people who knew conventional PA systems, people who understood how most rock bands operated.

According to Bob Weir in later interviews, By the time Owsley got out, the band had hired engineers in addition to Dan Healy and brought in formal management, and Bear disagreed with where they were headed.

That disagreement wasn't petty.

It was about the fundamental structure of the organization.

But Stanley was wrong about what the band needed, or maybe Bear just couldn't accept what they'd become.

According to Bob Weir, Owsley eventually convinced them to fund the wall, but the disagreements about direction never fully resolved.

The Dead kept the engineers they'd hired while Bear was in prison, Dan Healy and the crew that had replaced Stanley's one-man operation.

They kept the management structures.

They play a 26-minute terrapin station into Estimated Profit, where Brent's running vocal samples through his rig.

Dan Healy's experimenting with effects on Bob's vocals.

Her set had been all country stuff.

Mississippi half-step, El Paso, Dupree's Diamond Blues.