Media
Contact: Robert Clyne
Clyne Media, Inc.
Robert@clynemedia.com
Tel: (615) 662-1616
Fax: (615) 662-1636
FOR
IMMEDIATE RELEASE
AUSTIN’S
YELLOW DOG STUDIOS PURCHASES A SECOND CLASP® FROM ENDLESS ANALOG
— Yellow
DOG studios standardizes its control rooms with Endless Analog’s
CLASP® —
129th
AES CONVENTION, SAN FRANCISCO, CA, November 5, 2010 — Endless
Analog’s CLASP® (Closed Loop Analog Signal Processor)
system (booth 617), which uniquely integrates analog tape machines
into the digital audio production workflow, has been so successful
at yellow DOG studios
in Austin, Texas, that producer and engineer David Percefull has installed
a second unit. According to Percefull, the first CLASP unit has been
in constant use since it was installed in Studio One earlier this
year, ensuring that it would also take pride in placing a unit in
the newly constructed Studio Three.
Percefull,
who moved into the facility, formerly known as 5AM, with partners
producer-musician Ed Robinson and singer-songwriter Steven Todd Hudson
near the end of 2009, reports, “Everything that I record hits
tape through CLASP and goes to Pro Tools. I thought initially I would
use it on occasion, if the client wanted tape.” But as he quickly
discovered while using CLASP at every available opportunity, “It’s
a game-changer. I won’t do anything that doesn’t hit tape
at this point.”
Soon
after opening in spring 2010, the partners set about promoting the
studio at South by Southwest, recording 23 artists over three days.
“We laid it to tape, thinking that people would hear the difference
and want to come here and record. It was wildly popular; everybody
really loved our gear and the tone we were getting. A huge part of
that is going to tape, but even more importantly the speed at which
we were going to tape, and the availability to overdub and use different
tape speeds within the same session – that was a huge deal.”
CLASP’s proprietary SST® sample synchronization technology
allows groups of tracks within a project to be recorded at tape speeds
appropriate to their frequency content and transients.
Bookings
started to come in and Studio One, the facility’s main tracking
room, was soon also attracting mix projects. In planning Studio Three,
the partners chose not to take the more traditional route of equipping
a new mix room with a vintage console, different monitors, and so
on. “We did things a little bit out of the box, so instead of
doing that, we thought, why don’t we just mirror this control
room? So we bought the exact same API 1608 console and set up a very
similar monitoring scheme.”
With
yellow DOG’s equipment complement now including both 16-track
and 24-track MCI tape machines in addition to Pro Tools|HD2 with Apogee
converters, a second CLASP unit was also a given. That makes a lot
of financial sense, as Percefull explains: “The biggest impact
has been in efficiency – I can get tones quicker. I go to mix
and if stuff is recorded to tape it’s just very forgiving and
everything sounds good, whereas in the digital world you suddenly
have five EQs ganged up and you’re notching this out and doing
that to try to achieve a sound that is immediate with analog tape.”
He
continues, “Processing audio to tape inspired me to spend more
time creating and shaping tone at the beginning of the recording process
instead of keeping it safe and clean and dealing with at the end of
the process, the way that I did when I was a kid cutting to analog
tape. The sound of tape is much, much more musical and it's inspiring
to me.
Current
projects at yellow DOG, all involving CLASP, include a new album by
97-year-old Pinetop Perkins, the last of the living Delta Bluesmen
and one-time house pianist at Chess Records; iconic Texas singer/songwriter
Brandon Jenkins, with whom Percefull has worked on seven previous
albums; and Cody Canada's first solo album with producer/engineer
Adam Odor. “I’ve been recording with Brandon since ’96,”
shares Percefull. “He got in here and started tracking some
new stuff and was just blown away with the difference. That’s
held true for many clients.”
CLASP
fits perfectly into Percefull’s workflow, allowing him to spend
more time on the creative process rather than fixing the audio: “I
came up in the industry recording to tape; it was my only option.
So it’s been great, because in my way of thinking it gets me
to the end game much quicker — with much better results.”
About
CLASP
CLASP is the world’s first and only pro audio hardware that
lets you record on real analog tape with digital speed. CLASP provides
sample accurate tape synchronization with zero latency analog monitoring
while delivering a true Analog front end recording solution for Pro
Tools and other DAW’s. Already being used by top artists, producers
and engineers worldwide, CLASP is re-inventing analog for the digital
age. 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; Denis Savage,
engineer for Celine Dion; Butch Walker (Panic at the Disco, Pink,
Avril Lavigne); producers Nathan Chapman, Dave Cobb, Chuck Ainlay,
John Fields and Tom “T-Bone” Edmunds; and studio facilities
such as Clearwater, Florida’s Cleartrack Productions, 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.
For
more information, please visit http://www.endlessanalog.com.
…
ends 860 words
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Photo
File: yellowDOG_Percefull.JPG
Photo Caption: Producer and engineer David Percefull, of Austin’s
yellow DOG studios. Percefull recently installed a second Endless
Analog CLASP® unit at yellow DOG, in Studio Three.
About
Endless Analog
Founded by inventor, musician and record producer Chris Estes, Endless
Analog is a Nashville-based company developing and manufacturing innovative
boutique audio processing products for the recording and broadcast
market sectors. The first of these products is the critically acclaimed
CLASP® (Closed Loop Analog Signal Processor). In developing CLASP,
Estes' vision was simple: to create a revolutionary product that would,
for the first time in history, bring user-friendly and cost-effective
analog tape recording to every studio environment around the world.
It is this bridging of worlds – analog and digital, old and
new, classic and modern – that defines Endless Analog's growing
product line and visionary approach to their craft.
Contact
information:
Endless Analog – Amy Becker – 3212 West End Ave, Suite
500, Nashville, TN 37203 – www.endlessanalog.com
– amy@endlessanalog.com
– 866-929-4446
Endless
Analog is exhibiting at booth 617 at the 129th AES Convention in San
Francisco, CA.