Relix

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.A set of seven original audio frequency response graphs from the personal archive of John Curl—the legendary audio designer who helped engineer the Grateful Dead's Wall of Sound in 1973. Rendered on period-correct K+E (Keuffel &amp; Esser Co.) Audio Frequency 46 6882 graph paper and measuring 8.5 x 11 inches each, these graphs document the acoustic research and testing that informed the design of the most ambitious live sound system ever built. One graph is hand-signed in pen: "John Curl '73." Obtained directly from Curl at his Berkeley home and archive, this set represents one of the only documented glimpses into the Wall of Sound's developmental process. Curl has since become one of the most respected figures in high-end audio design; his JC2 preamplifier, originally developed for the Wall of Sound, remains in production to this day. Priceless as history; extraordinary as collectibles.

Grateful Dead John Curl Hand-Signed Wall of Sound Audio Frequency Test Graphs, 1973

The Grateful Dead did not simply perform concerts. They built a world, night after night, in which electricity, improvisation, and the collective will of thousands of listeners converged into something that resisted every attempt to contain or define it. No recording could fully capture it. No photograph could hold it. And so the band's crew — engineers and roadies and sonic architects working under names like Owsley Bear, Ram Rod, Kidd Candelario, and Sparky Raizene — built systems of ever-increasing ambition in pursuit of a simple, impossible goal: to make the sound as large as the experience. The Wall of Sound, deployed across the Dead's historic 1974 touring season, was the apotheosis of that pursuit: a 641-speaker, 26,400-watt apparatus so colossal it required its own trucks, its own structural engineering, and a full day of assembly before a single note was played. It remains the most ambitious live sound installation in the history of popular music.This auction, the fifty-second presented by ANALOGr in partnership with Relix, gathers that hardware — and much more — into a single historic sale. McIntosh MC 2300 amplifiers that carried Garcia's signal through the Wall's towering arrays sit alongside the 1967 Fender Twin Reverb he played at Newport Pop Festival '68, later passed to John Cipollina of Quicksilver Messenger Service. Phil Lesh's original Dual Showman bass head is here, still bearing fragments of Courtney Pollock's tie-dye. So are the Hard Truckers cabinets marked "CHEOPS" — believed to be the monitors the Dead brought to the base of the Great Pyramid in 1978 — and the original Wall of Sound diagram poster, hand-signed by the crew who built it. Beyond the gear, the sale encompasses psychedelic posters, signed memorabilia, original tickets and backstage passes, and an ultra-rare 1965 Scorpio Records 7" single that predates the Dead's mythology entirely. Each lot carries direct, documented provenance traced to the band's inner circle, their personal estates, and their storage lockers. For those who believe that history lives in objects, this is where to look.

Estimated shipping costs: $125 (domestic US) / $300 (international). ANALOGr will contact you following the auction with a shipping invoice.A matched pair of White Instruments Series 4303 graphic equalizers (serial numbers 126 and 127), used on stage by the Grateful Dead throughout the 1970s. These rack-mount units—covering the 40Hz to 16kHz frequency range across 3U of rack space—allowed the Dead's audio crew to perform pinpoint frequency adjustments for individual instruments as well as stereo PA and monitor mixes. The consecutively numbered serials confirm they were acquired and deployed as a matched pair by the band's organization. Obtained from the Grateful Dead storage locker of Bill "Kidd" Candelario, their provenance is direct and unimpeachable. White Instruments EQ's were a staple of the Dead's signal chain during the era and appear in numerous archival photographs of their stage rig.

Pair of Grateful Dead Stage-Used 1970s White Instruments Series 4303 19-Inch Equalizers

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.A pair of large-format, 4-way speaker main cabinets built by Grateful Dead crew members using Hard Truckers Baltic birch construction. Painted black to minimize visual distraction on stage, each cabinet contains four individual speaker drivers spanning the full frequency spectrum, connected via integrated crossover networks that route each frequency range to its appropriate driver. Banana plug connections on the rear are consistent with the Grateful Dead's custom signal distribution system. These are among the largest Hard Truckers cabinets ever constructed, representing the practical engineering that underpinned the Dead's ambitious live sound.Dimensions: 24 x 19.5 x 35 inches each.

Pair of Large 1970s Hard Truckers 4-Way Speaker Mains (Grateful Dead Related)

Due to the size and nature of this item, shipping requires custom freight/cartage. ANALOGr will contact you following the auction to arrange shipping logistics and coordinate a custom solution.An early example of the Hard Truckers/Alembic collaboration that would go on to define the Grateful Dead's live bass sound, this late-1960s dual 15" ported bass cabinet represents the genesis of an era. Built from Baltic birch with Hard Truckers hardware clips, the cabinet houses two JBL 15" speakers and features both 1/4" and banana plug inputs on the rear—reflecting the evolving signal routing practices of the Dead's audio crew. Mounted on casters for ease of movement across stages, this cabinet is a foundational artifact of the sound system development that would eventually culminate in the Wall of Sound.Dimensions: 15 x 24 x 42 inches.

Hard Truckers / Alembic Late-1960s Dual 15-Inch Ported Bass Cabinet (Grateful Dead Related)

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.An extraordinary document of rock history: the original "Wall of Sound" diagram poster drawn by Mary Ann Meyer depicting the Grateful Dead's monumental speaker system as deployed at the Hollywood Bowl on July 21, 1974. The poster has been hand-signed by the Wall of Sound's actual builders and operators—Steve Parish, Joe Winslow, Ron Wickersham, John Meyer, Rick Turner, and John Curl—the engineers and roadies whose collective genius made the system possible. Steve Parish added a handwritten tribute in the top right corner: "On behalf of Mark 'Sparky' Raizene, Bill 'Kidd' Candelario, Larry 'Ramrod' Shurtliff who were largely instrumental in building &amp; operating THE WALL." Accompanying the poster is an original backstage pass from the very same Hollywood Bowl performance on July 21, 1974. Together, this is a rare and historically irreplaceable piece of Grateful Dead and live music history.Dimensions: 17 x 11 inches.

Grateful Dead Wall of Sound Hand-Signed Hollywood Bowl Poster + Original 7/21/74 Backstage Pass

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.Among the rarest items ever offered at Grateful Dead auction: an authentic Owsley "Bear" Stanley autograph on a photograph of the 1974 Wall of Sound at the Hollywood Bowl. Bear—the Dead's legendary sound engineer, financier, and LSD chemist—was famously averse to signing autographs or posing for photographs. His inscriptions are extraordinarily uncommon. This photograph shows the Wall of Sound in full deployment, and Bear's inscription reads: "I MADE THIS! 4 June '07"—a characteristically direct assertion of authorship from the man who, along with the Dead's crew, conceived and realized the most ambitious live sound apparatus in rock history. This is one of the few Bear Stanley autographs ever to appear at public auction.Dimensions: 5 x 4 inches.

Owsley 'Bear' Stanley Hand-Signed Grateful Dead 1974 Wall of Sound Photograph

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.A deeply poignant pair of artifacts from one of the most significant nights in Grateful Dead history: the October 20, 1974 concert at Winterland, the final show of the band's legendary Wall of Sound tour—filmed for "The Grateful Dead Movie" and the last performance before the band's extended hiatus. The ticket stub from this show is stamped with the ominous phrase "The Last One," which at the time prompted genuine fear among Deadheads that the band was breaking up permanently. Accompanying the stub is a Maxell 7" reel-to-reel tape recording, preserving the concert on magnetic tape as Deadheads of the era did before digital media existed. Together, these items tell the story of a single night that felt like an ending—and eventually proved to be only a pause.

Grateful Dead 7-Inch Reel-to-Reel Recording + 10/20/1974 'The Last One' Ticketron Ticket Stub

Estimated shipping costs: $40 (domestic US) / $100 (international). ANALOGr will contact you following the auction with a shipping invoice.An exceptionally rare Grateful Dead concert handbill from 1969, featuring the Hell's Angels and drawn by artist Geno Henicki—one of the only known surviving copies of this item. The handbill documents a singular moment in the cultural mythology of the San Francisco rock scene, capturing the complicated and storied relationship between the Grateful Dead and the Hell's Angels motorcycle club during the late 1960s. At a time when handbills were the primary means of announcing underground shows, this fragile paper document survived against the odds to become one of the rarest pieces of Dead memorabilia in existence. For serious collectors of psychedelic-era concert ephemera, this represents a once-in-a-generation acquisition.Dimensions: 7 x 10 inches.

Grateful Dead 1969 Geno Henicki / Hells Angels Handbill

Estimated shipping costs: $75 (domestic US) / $225 (international). ANALOGr will contact you following the auction with a shipping invoice.A luminous piece of psychedelic poster art from the Spring of 1967, this large-format 18 x 18-inch concert poster advertises a three-night run (April 14–16) at The Kaleidoscope in Los Angeles, featuring the Grateful Dead, Jefferson Airplane, and Canned Heat. The poster has been signed by members of Jefferson Airplane, adding a layer of personal connection to an already exceptional artifact. 1967 represented the flowering of the San Francisco psychedelic scene and the birth of the concert poster as an art form, and pieces from this period—particularly from Los Angeles venues—are among the most sought-after in the genre. A beautiful example of the era's visual and musical culture in one.

Grateful Dead John Curl Hand-Signed Wall of Sound Audio Frequency Test Graphs, 1973

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