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Media Contact: Robert Clyne
Clyne Media, Inc.
Robert@clynemedia.com
Tel: (615) 662-1616
Fax: (615) 662-1636FOR IMMEDIEATE RELEASE
CLASP® GIVES PRODUCER DAVE BRAINARD AND ENGINEER BRIAN KOLB GREAT SOUND AT ANY SPEED
— Coming off their first number-one album and single for country artist Jerrod Niemann, Brainard and Kolb are applying CLASP®’s unique true analog front end recording solution to tracks for up-and-coming artist Ray Scott’s next record—
NASHVILLE, TN, September 2, 2010 — The remarkable CLASP® (Closed Loop Analog Signal Processor) system from Nashville-based Endless Analog, has reinvented analog tape recording for the digital age, and it has opened up other production techniques never before possible: namely, processing digitally-recorded audio to analog tape and back to the DAW, using variable tape speeds within the same session. Analog tape remains the gold standard for sonic quality of music recording, but tape’s linear nature had always meant that it could run at only one of several standard speeds on any one set of tracks – 7.5, 15 or 30 inches per second (ips). Producers and engineers had to make a choice between using the slower 15 ips to enhance low frequencies or 30 ips to accentuate upper mids and high frequencies. But as producer Dave Brainard and engineer Brian Kolb discovered on a recent project for promising new country artist Ray Scott at Mix Dream Studios in Nashville, CLASP lets them apply analog’s sonic magic at any speed to any individual track. This offers a sonic advantage to every project and is something that generations of analog recording professionals could only dream about. Thanks to CLASP, that revolutionary ability is now a reality.
Just coming off their first number-one debut country album (Judge Jerrod and the Hung Jury) and number one debut country single (“Lover, Lover”) for country artist Jerrod Lee Niemann, Brainard and Kolb are working on Pro Tools systems in separate control rooms at Mix Dream Studios. When overdubs are finished, they begin to run individual tracks, up to four at a time, to a vintage Studer A807 MkII ½-inch 4-track deck via CLASP. “The advantage here is that we can take a single track or group of tracks and listen to them individually as they go to tape from the Pro Tools environment,” Brainard explains. “We can process the bass guitar at 7.5 ips, greatly adding to the low-frequency effectiveness, and the kick drum at 15 or 30 ips, which lets it retain the transient that gives it its punch. We can also see how each track reacts to different kinds of analog processing – tape speed, saturation, compression and so on – and treat it for maximum effectiveness. The idea of being able to have different tape speeds on the same song is incredible. Every track gets exactly what it needs.”
Brian Kolb, who mixed Scott’s record and others at Mix Dream using CLASP, says he applies it to virtually every kind of track. “I have clients who come in to listen to a mix and they tell me they’ve never heard their vocals sound so good,” he says, noting that a vocal for country and gospel singer Sonia Isaacs was recorded and mixed with absolutely no EQ, with the only processing coming through the CLASP system and tape. “She agreed that it sounded amazing,” says Kolb. He also applied CLASP to the entire song on a tracking session recently at Ocean Way Studios in Nashville. “We did the drums at 30 ips and processed the lower-key songs at 15 ips. It was amazing to have that kind of control with such great-sounding processing.”
Brainard says the options that CLASP offers are nothing short of incredible. “No one could have imagined being able to use multiple tape speeds on the same song years ago,” he says, adding that there’s never an issue of synching tracks back up, thanks to CLASP’s proprietary SST® sample synchronization technology. “CLASP is just a fantastic system to work with. It puts a big old smile on my face.”
For more information, please visit www.endlessanalog.com
About CLASP
For more information, please visit http://www.endlessanalog.com.
CLASP is a hardware and software system that integrates Analog Tape Recorders with Digital Audio Workstations using a proprietary method called SST® (sample synchronization technology). CLASP delivers a true analog front end recording solution with the sonic character of the user’s tape machine. No other product comes close to approximating what CLASP effectively accomplishes. CLASP is employed by a diverse range of artists, engineers, producers and facilities, including Lenny Kravitz (at his new Bahamas-based Gregory Town Sound recording facility); Michael W. Smith; producers Nathan Chapman, Dave Cobb, Chuck Ainlay, John Fields and Tom “T-Bone” Edmunds; and studio facilities such as Austin, Texas’ Yellow Dog Studios, Los Angeles, California’s Hemispheres Recording and Austria’s Prime Studios. Analog tape manufacturers recommended by Endless Analog for use with CLASP include ATR Magnetics and RMG International.
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Photo File: CLASP_Brainard_Kolb.JPG
Photo Caption: Dave Brainard (left) and Brian Kolb (right), pictured with their CLASP® system from Endless Analog.
About Endless Analog
Endless Analog founder and esteemed record producer Chris Estes’ vision was simple: to create a revolutionary product that would, for the first time in history, bring user-friendly analog tape recording to every studio environment around the world. As an avid believer that the sound of analog tape is superior to that of digital, and after acquiring his first tape machine several years ago, a Studer A 827, Chris developed and created CLASP (Closed Loop Analog Signal Processor). The CLASP system solves the age-old analog tape dilemma by simplifying the recording process and allowing the user to save thousands of dollars in time and tape archiving expense. Dust off your tape machine and get ready to once again hear the warm sound of analog tape flowing through your monitors. Recording analog has never been so easy, effortless, and endless.Chris Estes is a Nashville-based Producer, Mixer, and Songwriter who enjoys working with a variety of artists spanning several diverse genres. Over the past 10 years a few of his clients have included Billy Mann (Teddy Geiger, Jessica Simpson), Ryan Tedder (One Republic), Major Bob Music (Lane Turner), Krystal Myers (Forefront), Michael Tait (D.C. Talk), Universal Music Group, Curb Records, EMI/CMG, TVT Records, Elektra Records, In Pop/Elevate Records, Gaither Music Group, Dreamworks Nashville and countless independent artists.
Contact information:Endless Analog – Amy Becker – 3212 West End Ave, Suite 500, Nashville, TN 37203 – www.endlessanalog.com – amy@endlessanalog.com – 866-929-4446
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