Recording - April 2016 - 35

The Origin also has a very nice off-axis rejection that is best
described as both natural and gentle. From on-axis to about
90º off-axis, the low end disappears quickly but the mids and
highs stay much the same in terms of timbre; they just drop by
6 dB or so. Beyond 90º, everything falls away sharply. What
this does is to give you a mic that captures the space with and
around the source in a very natural way.
With all this in mind, one of my favorite uses of the Origin
was on drum overheads. It ignores boomy buildup while blending together the cymbals and the kit as a whole, with a great
sense of the room and space the drums are in. For this reason I
really liked the Origin in a Glyn Johns over/side setup, bolstered only by an additional kick mic. It's a very dimensional
sound and nothing sounds hyped. As an aside, my most used
session drummer is David Blascoe of the charting/touring band
Citizen Way. David's a mic freak, and instantly loved how
open, wide, and natural his kit sounded through the pair of
Origins!
Still on the subject of drums, I also used the pair of Origins
for an old-school country and western song with a brushed
shuffle snare groove. I used one Origin over the kit, facing
directly down at the snare, and I placed the other Origin
about 10" in front of the kick drum. I was surprised at how
good it sounded on kick; it was a natural non-hyped low-end
presence that only needed a boost around 80 Hz and a slight
low-mid cut at mixdown to sound great. This is to say that the
Origin takes EQ quite well.
I finished the country song using the Origin as the only mic
on all instruments. I then did the same on a '90s-style poptinged rock track, where the Origin did all of the heavy lifting
aside from a fully-miked drum kit (where they were used again
as overheads). In both contexts the Origin tracks stacked and
blended quite well.

It makes a great vocal mic, especially on the female voice,
being sweet and gently forward. It is not immune to plosives,
but they are more controlled than on many vocal condensers.
With a well-trained singer, I was able to forgo a typical pop
filter for an up-close and intimate tone.
On acoustic guitars it captures the strums in a clear, round
way, and you can easily control the instrument's boom through
positioning and distance. There's that controllable proximity
effect again!
On electric guitar cabinet, my feelings are mixed. Positioning
up close in the speaker cone was the only time I found the mic
on the harsh side, but moving the mic 6" or more back from the
speaker offered better depth and again painted a nice picture
of the guitar cabinet in its space. This may not be appropriate
for all styles of music, but worked great on the tremolo-heavy
slapback classic country tones we were after.
Conclusion
The more I use the Origin, the more uses I find for it and
and the more I appreciate it. One thing I like a lot about it is
that it bears no resemblance to the usual tones of $249 microphones-either the faux-47 variety or the nondescript ultra
bright sound that we call "modern". Excitingly to me, the
Origin is neither-in many instances it reminds me more of a
gentle ELAM or C-flavored mic, which is a nice change of
pace.
Let's review: An all-British-made microphone, unique design
features, a broad tonal palette, all for $249... I'd say that's a
home run-Oops, sorry. I meant a "back of the net!"
Price: $249
More from: Aston Microphones, www.astonmics.com


http://www.astonmics.com http://www.gracedesign.com

Table of Contents for the Digital Edition of Recording - April 2016

Contents
Recording - April 2016 - Intro
Recording - April 2016 - Cover1
Recording - April 2016 - Cover2
Recording - April 2016 - 1
Recording - April 2016 - 2
Recording - April 2016 - 3
Recording - April 2016 - 4
Recording - April 2016 - 5
Recording - April 2016 - Contents
Recording - April 2016 - 7
Recording - April 2016 - 8
Recording - April 2016 - 9
Recording - April 2016 - 10
Recording - April 2016 - 11
Recording - April 2016 - 12
Recording - April 2016 - 13
Recording - April 2016 - 14
Recording - April 2016 - 15
Recording - April 2016 - 16
Recording - April 2016 - 17
Recording - April 2016 - 18
Recording - April 2016 - 19
Recording - April 2016 - 20
Recording - April 2016 - 21
Recording - April 2016 - 22
Recording - April 2016 - 23
Recording - April 2016 - 24
Recording - April 2016 - 25
Recording - April 2016 - 26
Recording - April 2016 - 27
Recording - April 2016 - 28
Recording - April 2016 - 29
Recording - April 2016 - 30
Recording - April 2016 - 31
Recording - April 2016 - 32
Recording - April 2016 - 33
Recording - April 2016 - 34
Recording - April 2016 - 35
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Recording - April 2016 - Cover3
Recording - April 2016 - Cover4
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