Linage:master WAV 16bit>Audacity>cd wave edt>TLH (FLAC 8)Įlvis Costello, vocals, guitar, piano and UkeleleĢ6.screen video (Ross McMamus band) "If I Had A Hammer"ģ3. I have attached screen grabs of the menus and a few other frames to help guide you.Įquipement: Edirol R-09-HR with external Sonic Studios microphone
The picture edges are more defined (read the word "Security" on the jackets near b-stage), and the audio should be an improvement. The colors aren't as washed out (look at the green of Bono's guitar). I have compared ours to the screen grabs at Achtung Bootlegs and it does appear to be an upgrade. Now, the real question is, is this better than what's circulating? I know at least one other satellite capture was made of the Bono-cam and it has always been my presumption that it was the source for all the copies in circulation. He felt the quality was strong enough to author as a dual-layer DVD which will annoy some of you but at this point dual-layer burners are pretty common. He has done great work in the past and this one is no exception. Our good friend KS did the authoring and the syncing to the DAT audio source. This DVD is the first time those Digital 8 tapes (three of them) have been transferred and circulated.
#Psycho theme stereo master found pro#
Now I honestly don't recall to what tape format the Booncam was captured (it was most likely Betacam), but well after the fact, JEMS was able to borrow and dub those pro tapes to what was the best format we could put our hands onto on short notice, Digital 8. From what I was told, this was because the feeds were coming through in PAL as that was the video system U2 employed on the road, but the so-called Bono-cam was NTSC and that feed was recorded. While we were not able to capture live video ourselves, live video was recorded from the satellite though not of the multi-camera feed. Not throwing stones, I just don't understand how a direct capture from a satellite receiver could be inferior to a webcast downstream of the same source given the state of broadband in 2001). I posted that audio a couple years ago and the response seemed to be positive in that it was considered the best version yet to circulate (oddly, a webcast-sourced version was posted to U2T a few months ago that some preferred even as the capture, by its very nature, should be inferior. Some of you know that JEMS recorded the 2001 Notre Dame webcast direct from the satellite feed. Master Digital 8 tapes and DAT tape > Vegas edit, sync and author > Dual Layer DVD-R > VIDEO_TSĠ2 Until the End of the World > Two TribesĠ5 Stuck in a Moment You Can't Get Out Ofġ4 Psalm 116 > Where the Streets Have No Nameġ5 I Still Haven't Found What I'm Looking Forġ6 With Or Without You > Shine Like StarsĢ0 Peace on Earth (tiny glitch on both audio and video masters)
#Psycho theme stereo master found professional#
The reprint below comes from of an article published in a special issue of Interdisciplinary Humanities entitled “Music in Context,” Fall, 2009.Video Source: live satellite feed > satellite receiver > forgotten professional format video tape (likely Betacam) > Digital 8 tapesĪudio Source: live satellite feed > satellite receiver > Casio DAR-100 DAT
This paper was originally read at the NAHE Association meeting, San Francisco, Maand at the Mid-South American Musicological Society-Music Theory Society Mega-Conference at the University of Georgia (Athens), March 16, 2007. In addition, a rationale is offered to explain the shift from tonal to atonal music over the course of this film. This paper illustrates how the “The Psycho Theme” is transformed throughout Psycho and how it degenerates into the most famous icon in the history of film music. The roots of this slasher music are found in a tune called “The Psycho Theme” (a label given to it in the cue sheets) that has been largely ignored over the years. Alfred Hitchcock’s Psycho has become one of the most celebrated American films in its genre and Bernard Herrmann’s music for the film contains an equally celebrated musical icon-the slasher music-that has become a universal motif for all slasher films.
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