You went out of your way to call us at a late hour, your time,” says Larry Walsh, 'Capstan has helped us.' “I appreciate your input during this project. At that time, Capstan wasn’t yet ready for doing multi-track work (it now is), so Capstan product specialist Mathis Nitschke helped Larry Walsh out on the phone finding a custom workflow using then undocumented features. Mastering Engineer Larry Walsh used Capstan to sync the multitracks by matching their concert pitch and clean them from wow and flutter.

Despite considerable degradation over time, a team of engineering experts, led by Frank Sinatra, Jr., used contemporary digital recording technologies to deliver a completely new sound mix for the 2012 re-release.

The original film canisters had been stored for nearly a half-century. This master recording has not been used in any re-release of The Concert Sinatra since the original sound mix was prepared nearly 50 years ago. In order to facilitate the sound mixing advantage of multiple channels of audio, The Concert Sinatra was recorded on a motion picture scoring stage with the use of multiple synchronized recording machines that employed 35mm magnetic film.

When The Concert Sinatra was recorded in February 1963, multi-track master tape machines were not yet a reality in the recording studio. Sound examples can be downloaded free of charge as well. The entire review can be downloaded in PDF format from the Sound On Sound page. Best of all, the process is entirely artifact-free: no glitching or warbles, ever!' In the summary, the magazine states that Capstan 'works astonishingly well, is easy to use and to fine-tune, and enjoys a very well-designed user interface. Hugh claims that Capstan’s supposedly high price is “fully justified by its complexity, ingenuity and sheer effectiveness, especially in the context of the scale of the relatively specialist audio restoration market.” He also points to the alternative rental option which he calls 'a very attractive, … affordable and practical solution for one-off projects.' For them, 'it is a very impressive tool and well worth exploring!'Īfter a comprehensive explanation of the wow-and-flutter phenomenon and its technological background, author Hugh Robjohns takes Capstan for a test drive with some real-life examples: 'I was very pleased indeed with the improvement Capstan brought to my Chopin piano material.' In their August 2012 issue, UK-based magazine Sound On Sound feature a detailed 4-page review of Capstan, our professional restoration software.

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