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Media Contact: Robert Clyne
Clyne Media, Inc.
Robert@clynemedia.com
Tel: (615) 662-1616
Fax: (615) 662-1636FOR IMMEDIEATE RELEASE
DAVE COBB CHOOSES CLASP® FOR SECRET SISTERS
— Universal Republic’s retro-styled Secret Sisters, produced by Cobb and executive produced by T-Bone Burnett, were recorded with analog tape while keeping a modern workflow recording pace, thanks to Endless Analog’s CLASP® —
NASHVILLE, TN, September 27, 2010 — Los Angeles-based producer, engineer and composer Dave Cobb has worked with some of the biggest names in neo-traditional country and roots music – Shooter Jennings, Oak Ridge Boys, Waylon Jennings, Jamey Johnson and Brooke White, to name a few. He recently discovered a promising young sister act, The Secret Sisters, composed of Laura and Lydia Rogers. As producer of the group’s upcoming debut album, which is being overseen by Executive Producer and GRAMMY®-winning roots music legend T-Bone Burnett, and set to be released on Universal Republic, Cobb is using the opportunity to masterfully match the Sisters’ unique vintage sound, reminiscent of classic late 1950s country-pop, with period-accurate recordings. A huge piece of that puzzle is Endless Analog’s CLASP® (Closed Loop Analog Signal Processor), the critically acclaimed pro audio product that invisibly merges real Analog Tape with Pro Tools and other DAWs.
Cobb first became aware of CLASP through online recording forums. “It piqued my interest immediately,” notes Cobb, “because I’ve always been into tape, and matching it with Pro Tools in this seamless way makes a really convenient, fast and easy workflow. CLASP seemed like the perfect marriage of the two. It lets me just work, and not have to think! Designer Chris Estes from Endless Analog gave me a demo at my L.A. studio, and I bought it on the spot. I’ve always had two-track tape machines, but lately I wasn’t using them quite as much. But now that CLASP has come along, it has completely solidified my workflow, and I’m back to using tape machines all the time.”
The Sisters’ project provided the perfect opportunity for Cobb to put the CLASP to great use. The album’s tracking sessions are taking place in Nashville at Blackbird Studio A, and Cobb made sure to go to every length to attain the classic sounds they were seeking. “We used a bunch of Universal Audio mic pre-amps, old RCA ribbon mics, Neumann U48s – all very period-correct stuff,” he recalls. “There’s something really pleasing and honest about records from the 50s, 60s and 70s. CLASP enables us to get that classic sound with modern convenience. We used super-minimal mic-ing, period-correct compressors, instruments and setup, and gave the studio a vintage atmosphere. Really, the only difference in the way we tracked it now versus how they would have done it 50-plus years ago is that we have computers to act as a big storage device. With CLASP, we’re able to use one roll of tape, and just constantly hit ‘tape,’ and immediately it’s transferred into Pro Tools. We even used live slap going down to the chambers, and we were able to print it all to tape just as they would have done back then. All the sounds are coming from the rooms, the performers, the mics, the vintage mic-pre’s, and the tape, just like years ago. Pro Tools for us is a storage and editing medium only.”
He points out how CLASP has made their faithfulness to the vintage sound possible. He notes, “If we’d done it before CLASP came along, we’d have spent probably $12,000 on tape alone, but with CLASP, you only need one roll. We were able to keep every pass we did on the computer – not that we needed a ton of passes – but we were able to keep them all and easily comp between those passes with the convenience of Pro Tools. And we were able to get the classic analog tape sounds without spending a fortune on tapes.”
As Cobb continues to work on projects at his L.A.-based 1974 Studio and elsewhere, he will be sure to keep CLASP as an integral part of his signal chain. He states, “I don’t have to use plug-ins anymore to try and get the sounds I’m looking for. CLASP opens the doors to sounds that just don’t really exist in the digital realm. Classic-sounding records with modern convenience, that’s what CLASP allows us to do.”
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: EndlessAnalog_Cobb.JPG
Photo Caption: Producer Dave Cobb at Blackbird Studios, Nashville, TN.
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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