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aston origin frequency response

aston origin frequency response

Sonically, as indicated by the frequency chart, the mic has a slight rolloff below 100Hz, a flat low mid-range, and a gentle rise in the high end, starting at 4kHz and rising to +5db at 10kHz. But neither the Spirit nor the Origin sounded quite as forward on the deeper, quieter sections of the performance. One downside of the origin is that it seems to be very sensitive to how it is placed. First Look: Pro Tools | Carbon. The FET47 couldn’t match either Aston in the upper ranges of the vocal, and didn’t seem to catch the snarl in the vocal on the grittier sections. The base of the mic houses the XLR output, as well as a mic-stand thread for use without a shockmount.On paper the performance seems to be pretty much what you might expect, but of course it is the sound that really matters, and what I look for first in a microphone is the ability to render detail in a smooth and natural way. Frequency Response; 20Hz – 20kHz (+/-3dB) Equivalent Noise Level; 18dB A-Weighted Sensitivity at 1kHz into 1kohm; 23.7mV/Pa Pad Switch; -10dB Low-Cut Filter; 80Hz Frequency response: 20Hz - 20kHz (+/- 3dB) Equivalent Noise level: 14dB A-weighted Sensitivity at 1 kHz into 1 kOhm: 23.7 mV/Pa Maximum SPL for THD 0.5%: 138 dB Polar Pattern: Omni. The Origin has frequency response of 20 Hz to 20 kHz, +/- 3 dB. One Synth Challenge V - The Filter Strikes Back! Its sensitivity is 23.7mV/Pa (at 1kHz into 1kΩ), and its maximum SPL handling ability is 138dB without the pad switched in. You may login with either your assigned username or your e-mail address. For acoustic guitar, I had to make sure it was directly facing the 12th fret perpendicular to the neck. 94dB SPL): 76 dB A-Weighted - Pad Switch: -10 dB - Low-Cut Filter: 80 Hz - Power: 48 Volt Phantom power (+/- 4 Volts) is required for operation The noise level is higher than some competing large diaphragm condensers, but it wasn’t high enough to cause any problems. This pretty much covers the audible spectrum of what we can hear. Mastering Essentials Part 4 - Mastering EQ: Balance, Don’t Match. A discrete Aston logo denotes the hot side of the mic, which features a transformer-balanced output and requires standard 48V phantom power (±4V) to run. With the filter in, popping is reduced to the point that it can be considered negligible, but in the studio I’d probably choose to leave the filter off and still add an external pop shield. It is sold in a padded cardboard box. Gives good results on most voices and on common acoustic instruments. This same design also avoids having wide vertical support posts that reflect sound within the capsule housing — a known cause of high-frequency bumps and dips in the response curve. There’s also a -10dB pad switch for louder sources and an 80Hz low-cut filter. Users report that the mic has a neutral sound that is somewhat flattering to the source: […]the Origin’s tonality comes across as subjectively natural with good clarity, a sense of weight and a lack of harshness[…]. During testing, Aston claims the capsules have an approximately 80% rejection rate. On the bottom of the mic body is a zinc plate with integral threads, designed for direct stand mounting with no additional shock mount needed. It features transformerless electronics and operates from standard 48 Volt phantom power (±4V) offering a frequency response of 20Hz to 20kHz (±3dB). The Aston Origin has a frequency response of 20Hz – 20kHz, maximum SPL of 127dB and equivalent noise level of 76dB-A. If you want to attenuate the low frequencies, you have selection of 3 different high-pass filters, which can roll off any unwanted rumbling from recordings. The mic has a large-diaphragm, center-terminated capsule. A discrete Aston logo denotes the hot side of the mic. PreSonus StudioLive 32SC Series III Mixing Console. While subtly flattering, the Origin’s tonality comes across as subjectively natural with good clarity, a sense of weight and a lack of harshness, something that carries over to acoustic guitar recordings, where the highs are smooth yet well focused. Its sensitivity is 23.7mV/Pa (at 1kHz into 1kΩ), and its maximum SPL handling ability is 138dB without the pad switched in. Web site designed & maintained by PB Associates & SOS. All mics sound slightly different from each other, even when the specs look similar, so much depends on your personal interpretation of what constitutes a ‘true’ or artistically satisfying sound. There’s a gradual low rolloff starting at 120 Hz, and a slight boost across the high-mids that peaks at 12 kHz before settling back to 0 dB at 20 kHz. Unlike almost every other affordable studio microphone company, Aston design assemble and test all their mics here in the UK. Manufacturing is handled by the same UK company that builds the Munro Sonic Egg speakers, and each microphone is individually tested at multiple stages during production. The built-in mesh-knit pop filter around the wave-from head is randomly waved which make sure unwanted frequencies are filtered. Given the relatively low cost of the Origin, it compares very well with other mics in the same price range and it can even give some significantly more costly mics a run for their money.

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