The JEMS transfers of the Hopkins masters are as good as it gets for the Boston run, and likely good as it will ever get. Unless of course "official" audience versions of those shows surface or we learn that those shows were mysteriously recorded via mobile truck. Given the legal chaos at the time, doubtful that happened. I wonder if the lawsuit impacted professional recording of shows during that period. Anyone know if audio from the Thrill Hill vault stuff on the Darkness box was multitrack or just straight mixing deck?