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Endless Analog/CLASP still in business?
Old 23rd December 2014
  #31
Quote:
Originally Posted by [email protected] View Post
Yay! I just have to find myself a nice tape machine for sensible money first...
Hello Trevor,

AllStudios December news - Equipment for sale - Otari MTR 90 MKII with remote & autolocator.

Maybe...

R.
Old 23rd December 2014
  #32
Gear Nut
 

Quote:
Originally Posted by hitsville View Post
is the daytripper still in the works, guys ?
There seems to have been little news on this since like 2012 except for a patent filing late this year. I'm really hopeful about it, but Endless just won't say much. It sure seems to have been loooong in development. Even a vague timeframe for release would be helpful.
Old 23rd December 2014
  #33
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tekis's Avatar
Quote:
Originally Posted by ASCMe View Post
People who use CLASP are leaving the same roll of tape on their machines. The tape is always moving. There is going to be oxide on your heads and HF loss either way, if you record a bunch. In the old days, we never recycled tape and minimized passes. We would make copies of the master to OD to. Now, people just reuse the same old tape, over and over again.
This statement is not entirely true. If one started a session with a new tape and recorded 12 songs or so there wouldn't be much of a penalty. Cleaning the heads regularly between takes is normal SOP for a tape session. And actually, using the same tape will cause it to "conform" to the heads, thereby giving superior tape-to-head contact/performance.
Old 24th December 2014
  #34
Quote:
Originally Posted by Space1999 View Post
I got what he said... he said tracking the whole session to tape and then dumping it to Protools was in his opinion a better method. Better than the piece meal way of doing it with CLASP.
As said, CLASP is just a way of integrating digital with tape. I wouldn't call it piecemeal.

Quote:
Originally Posted by Space1999 View Post
I think CLASP is a very interesting idea and would like to experience it. From what I have seen going from tape to digital works well and sounds very good. Plus I like the idea of dumping to digital in real time to prevent tape wear and frequency loss.
It's a great way of streamlining things. It's expensive, but at the same time if it saves 1/2hr of studio time (or more) per day, it'd pay for itself for some.

Quote:
Originally Posted by ASCMe View Post
People who use CLASP are leaving the same roll of tape on their machines. The tape is always moving. There is going to be oxide on your heads and HF loss either way, if you record a bunch. In the old days, we never recycled tape and minimized passes. We would make copies of the master to OD to. Now, people just reuse the same old tape, over and over again.
Well, that's kinda what people did doing multiple takes on the same piece of tape. CLASP uses the whole tape too, rather than just sections of it. No reason not to clean heads and/or change tapes either.
Old 24th December 2014
  #35
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I Think it's amazing pice of technology. It would be a shame if they weren't in business.

If you have a good sounding tape machine it's pretty much a no brainer. You get all the sonic benefits of going to tape but while retaining the convenience and efficiency of a DAW. Why record to tape first if your only going to fly it in later when you can fly it in in real time as you go. Not to mention the greater editing flexibility.

The only question is, are thse sonic benefits worth the expense of the unit and the added step in setting everything up. I can't see it not being worth it if you're running to tape anyway.

With that said, I do think much of that beautiful sonic buoyancy you get with analog tape is lost once converted to digital. Tape emulation software pales next to listening to a direct recording to tape. However , once the tape is converted to digital, then the differences are a good deal more subtle, well imho.

Anyway good luck with your search.
Old 24th December 2014
  #36
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ARIEL's Avatar
If I had a 2" tape machine I would totally buy clasp , this is a brilliant way of doing things and it is worth it in the end . It is not that huge of an investment if you are doing this full time and making a living . I watched a bunch of the testimonial videos and the established pros all seem to love it . They get what clasp does and truly know that the time saved by this machine is worth every dollar invested . I may look at one of the Mara machines next year plus clasp . Great innovative design Chris ! also it look like they have sold a few hundered clasp units at least .
Old 26th December 2014
  #37
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Quote:
Originally Posted by psycho_monkey View Post
As said, CLASP is just a way of integrating digital with tape. I wouldn't call it piecemeal. It's a great way of streamlining things. It's expensive, but at the same time if it saves 1/2hr of studio time (or more) per day, it'd pay for itself for some. Well, that's kinda what people did doing multiple takes on the same piece of tape. CLASP uses the whole tape too, rather than just sections of it. No reason not to clean heads and/or change tapes either.
Exactly, why use the Same Reel?
Simply so you don't need to order a batch of a 100 14" spools or Pancakes of 2" Tape which was the norm in doing an Analog Album for a Major Artist, then assembly with edits, cut edits, gap edits, leader tape, splicing Tape, an Editall Block, and 400 razor blades to slit your writs with after putting together 790 2" tape edits for a Final Album that Then...went to either 1/2" or 1/4" tape alongside PCM 1601 and the time involved and the logging by an assistant...with plus and minus dB vocals and 3 different TV mixes, radio mixes, live mixes, performance mixes and an instrumental clean .....all on new generation tape. That's $5000 bucks right there alone minus the Studio time, and bad tapes in the batch number! So .....yeah add the timeline Lynx synchronisers and beat that with the price of a a Clasp!

I y'I y'I y'I...y'I y'I.

TLB
Old 27th December 2014
  #38
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ARIEL's Avatar
Quote:
Originally Posted by Rolf Ebitsch View Post
Hello Trevor,

AllStudios December news - Equipment for sale - Otari MTR 90 MKII with remote & autolocator.

Maybe...

R.
selling your 2" machine , why not get clasp ? no more tape for you these days . I would love to be doing the clasp thing
Old 27th December 2014
  #39
Moderator
 
James Lugo's Avatar
 

I owned Clasp and a Studer A800 for about a year. Very cool. I had a stock pile of tape. And I will tell you tracking drums to a tape that's been hit a dozen times is still better then tracking straight to a DAW. My 2 cents.

In all the years and all the gear I've owned and sold the only thing I miss is my Studer. But was afraid to take it to NC and not have a tech near by. Chris Estes, the designer of clasp is a cool dude and is the absolute best customer service on the planet. I wish he'd chime in and lend some insight.
Old 27th December 2014
  #40
Quote:
Originally Posted by ARIEL View Post
selling your 2" machine , why not get clasp ? no more tape for you these days . I would love to be doing the clasp thing
Hello Ariel,

it is not my machine.
It was only a information for Trevor to jump perhaps on the tape train.

I 'never ever' sell my 2inch.
She's my Baby since I've started with recordings.

And by the way, I love the sound !
Some signals on the 2", some direct to the converter.
Both worlds are terrific and with advantages.

I have a look since years on clasp...

The 24 channel Clasp unit: Not that it is to expensive for what it is and accomplishes, definitely not, but it was a little to much for my studio budget.
The more or less 'new' 8 channel unit is now affordable for me.

Apropos, what I really like is the fact, that it works also with Nuendo !!

I'll have a look again, at the next Frankfurt Musicfair 2015....

R.
Old 28th December 2014
  #41
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ARIEL's Avatar
Thank you for the reply !
Old 28th December 2014
  #42
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ARIEL's Avatar
Quote:
Originally Posted by James Lugo View Post
I owned Clasp and a Studer A800 for about a year. Very cool. I had a stock pile of tape. And I will tell you tracking drums to a tape that's been hit a dozen times is still better then tracking straight to a DAW. My 2 cents.

In all the years and all the gear I've owned and sold the only thing I miss is my Studer. But was afraid to take it to NC and not have a tech near by. Chris Estes, the designer of clasp is a cool dude and is the absolute best customer service on the planet. I wish he'd chime in and lend some insight.
Cool to hear your take on 2" and the use of clasp - I def would like to get a 2" 16 trk machine down the road , maybe one of those Mara machines
Old 28th December 2014
  #43
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cheu78's Avatar
Quote:
Originally Posted by ARIEL View Post
Cool to hear your take on 2" and the use of clasp - I def would like to get a 2" 16 trk machine down the road , maybe one of those Mara machines
I have one, beautiful machine.. will put it through her paces next year when tracking a reggae album.. heh

I don't have clasp.. at the moment I don't feel the need.. will see in the future.. maybe a 16channel version..



Cheu
Old 29th December 2014
  #44
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ARIEL's Avatar
Quote:
Originally Posted by cheu78 View Post
I have one, beautiful machine.. will put it through her paces next year when tracking a reggae album.. heh

I don't have clasp.. at the moment I don't feel the need.. will see in the future.. maybe a 16channel version..



Cheu
Nice !!, well if you are able to do at all then dump into the DAW after that will save on clasp . For me I would def need clasp as I am doing tons of layers and tracks .
Old 29th December 2014
  #45
Quote:
Originally Posted by ARIEL View Post
Nice !!, well if you are able to do at all then dump into the DAW after that will save on clasp . For me I would def need clasp as I am doing tons of layers and tracks .
The "dump" aspect is a mixed bag. You either a

) transfer free, and kiss any grid base editing goodbye unless you remap the grid. Not suitable for anything where you might need to add tempo synced programming.

b) transfer by slaving pt or other daw to the sympte track on tape. If you do this, you can do a "dirty" lockup to grid, but technically your tape is speeding up/slowing down as you transfer, and so is PT - then you lock pt internally once transferred. In practice with a good tape machine, I've never had an issue doing thigs this way. It could be possible that you have noticeable wow and flutter that a proper lock up would prevent.

c) do a proper lockup with a synchroniser where the tape machine is resolved to video and speed is controlled much more tightly. If you know what you're doing, it's by far the best option. Does anyone remember how to do this though?!

Only c) is suitable for overdubs, b) if you're lucky.

Some people use a kind of "manual CLASP" setup where they're printing to PT through tape as they track, then they manually nudge the audio back into time. They also monitor pre tape. I'm sure it works; it's just slower and more fiddly.

The beauty of CLASP is that it takes tape out of the equation; it's close to invisible functionally, and when set up correctly you can almost forget it's even there.
Old 29th December 2014
  #46
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ARIEL's Avatar
Cool thanks for the options , I agree as it looks like clasp is the best way to go for my purposes . Now time to research more on tape machines . I do have a Fostex B16 , bt I still need to get more educated on the larger machines
Old 14th May 2015
  #47
Here for the gear
Just got an email from Endless Analog that the 24 track CLASP is out of stock and backordered for 6 months. Looking for plan B now!
Old 15th May 2015
  #48
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cheu78's Avatar
Quote:
Originally Posted by rsfmuse View Post
Just got an email from Endless Analog that the 24 track CLASP is out of stock and backordered for 6 months. Looking for plan B now!
Check on the GS classifieds.. there's some guys selling them.. usually with a tape machine.. but they might want to part the two..

I hope this helps,



Cheu
Old 15th May 2015
  #49
Here for the gear
I've got a line on one! Thanks!
Old 15th May 2015
  #50
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ARIEL's Avatar
Quote:
Originally Posted by rsfmuse View Post
Just got an email from Endless Analog that the 24 track CLASP is out of stock and backordered for 6 months. Looking for plan B now!
Wow , so at least they are selling them to the point of being out of stock , which is good . I presume it is made per batch .
Old 15th May 2015
  #51
Gear Head
 
pscottm's Avatar
I've been using a Clasp 16 w a Mara MCI 2" 16 track for 2 years now and am completely satisfied with it. It works reliably.. clients have remarked that it's like having a ghost in the room.

We offer digital-only recording as well but now that it's so affordable to offer tape as an option, and it doesn't slow down the session, everyone who comes through our doors chooses tape.
Old 15th May 2015
  #52
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ARIEL's Avatar
Quote:
Originally Posted by pscottm View Post
I've been using a Clasp 16 w a Mara MCI 2" 16 track for 2 years now and am completely satisfied with it. It works reliably.. clients have remarked that it's like having a ghost in the room.

We offer digital-only recording as well but now that it's so affordable to offer tape as an option, and it doesn't slow down the session, everyone who comes through our doors chooses tape.
nice ! Are you using any noise reduction ? how is the noise level/hiss on the machine ? I was thinking about getting the same set up
Old 16th May 2015
  #53
Gear Head
 
pscottm's Avatar
Quote:
Originally Posted by ARIEL View Post
nice ! Are you using any noise reduction ? how is the noise level/hiss on the machine ? I was thinking about getting the same set up
No I'm not using any noise reduction. I'm basically going by recommended factory specs of MCI and ATR and don't have any hiss issues, that is unless something gets recorded to tape way too quietly by accident and gets turned up later.
Old 16th May 2015
  #54
Gear Head
 
pscottm's Avatar
Quote:
Originally Posted by psycho_monkey View Post
The "dump" aspect is a mixed bag. You either a

) transfer free, and kiss any grid base editing goodbye unless you remap the grid. Not suitable for anything where you might need to add tempo synced programming.

b) transfer by slaving pt or other daw to the sympte track on tape. If you do this, you can do a "dirty" lockup to grid, but technically your tape is speeding up/slowing down as you transfer, and so is PT - then you lock pt internally once transferred. In practice with a good tape machine, I've never had an issue doing thigs this way. It could be possible that you have noticeable wow and flutter that a proper lock up would prevent.

c) do a proper lockup with a synchroniser where the tape machine is resolved to video and speed is controlled much more tightly. If you know what you're doing, it's by far the best option. Does anyone remember how to do this though?!

Only c) is suitable for overdubs, b) if you're lucky.

Some people use a kind of "manual CLASP" setup where they're printing to PT through tape as they track, then they manually nudge the audio back into time. They also monitor pre tape. I'm sure it works; it's just slower and more fiddly.

The beauty of CLASP is that it takes tape out of the equation; it's close to invisible functionally, and when set up correctly you can almost forget it's even there.

Yes another thing I like about Clasp is being able to overdub into an existing PT session across tape, which of course also allows recording to a click from PT if needed. Tape tracks land perfectly on the grid. I'm not a huge fan of click tracks or tempo maps but when it's necessary, it's no problem.
Old 16th May 2015
  #55
Quote:
Originally Posted by pscottm View Post
No I'm not using any noise reduction. I'm basically going by recommended factory specs of MCI and ATR and don't have any hiss issues, that is unless something gets recorded to tape way too quietly by accident and gets turned up later.
The other thing being of course, if you're tracking something like piano, you can just bypass the tape.

Clasp also makes regular overdubs really easy to do to tape, where you might not bother otherwise.
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