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Aston Spirit Multi-Pattern Condenser Microphone
High-performance, switchable pattern condenser microphone utilizing a 1-inch gold evaporated capsule
MFR# AST-SPIRIT
Product Description
The Aston Spirit Multi-Pattern Condenser Microphone is built like a boutique microphone, using hand-selected capsules, high-end transformers, and custom capacitors. Aston’s signature Wave-Form Mesh Head is a unique design that not only makes the Spirit stand out from other mics, but offers ultimate support of the mic capsule.
The Spirit offers three selectable polar patterns, Cardioid, Figure-8, and Omni-Directional. Spirit works great on a variety of sound sources, but excels on vocals, acoustic instruments, and capturing a room tone. Pair Spirit with other Aston mics, such as the Origin, to get a great Mid-Side setup.
With Spirit, there is no need for a separate windscreen. A mesh-knit pop-filter is built right into the Wave-Form head. It’s custom weave design allows great transparency, and virtually eliminates plosives and unwanted noise. The casing is formed in stainless steel, so it won’t rust with use, and can even be removed and washed.
Another great feature of the Spirit is the custom End Caps, not found on any other microphone of its kind. The End Caps are designed to absorb high amounts of unwanted rumble from the floor, low end from the control room, or an adjacent isolation booth, completely removing the need of a third party shock-mount. The End Cap can be adjusted to fit any type of stand.
Every Aston microphone has a completely unique design on their chassis, which are individually tumbled for up to four hours to give it a tough exterior, and extremely beautiful finish. To top it all off, each microphone is engraved with Aston's brand mantra, ‘The art of performance’.
Features:
- Condenser Microphone
- Cardioid/Figure-8/Omni Directional Polar Patterns
- Wave-Form Mesh Head
- Built in Pop-Filter
- Shock-Mount built in
- Unique Finish on every microphone
- Eco Friendly Packaging
- Frequency Response: 20 Hz – 20 kHz (±3 dB)
- Maximum SPL for THD 0.5%: 127 dB
- Pad Switch: -10 dB
- Low-Cut Filter: 80 Hz
- 48 Volt Phantom power (±4 Volts) is required for operation
Product Specifications
| Condition | New |
|---|---|
| Tube or Solid State | Solid State |
| Transducer Type | Condenser |
| Polar Pattern | Cardioid, Omni-Directional, Variable-Pattern |
| Number of Microphones | Single Microphone |
| Phantom Required | Yes |
| Frequency Range | 20 Hz - 20 kHz, ±3dB |
| input_pad | -10 dB; -20 dB |
| Filters | 80 Hz |
| Sensitivity | -32.5 dBV/Pa (23.7 mV) |
| Max. SPL | 138 dB |
Product Reviews
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I just love this mic. So simple and sexy with a class of quality that doesn't distract in any way when I use it on vocals or acoustic guitars, even drum room.
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I've used both miss ( the Spirit and the Origin ) on vocal and tracking electric guitar ~ think of them as a warm U87 and 421 together .
A " Can't Go Wrong " Go to Mic ! -
When I bought my Aston Spirit, the company was giving away Rycote shockmounts for every purchase. They are no longer doing that. If you do not have a shockmount that can hold this microphone, it will be very hard to position correctly - even with a 3rd party stand clutch. Mine arrived with no damage, but the inner windscreen was made of two pieces - two rings each of which were half as tall as the grille - so this was a disappointment, because this makes it harder to disassemble the grille without touching the capsule.
The good: This microphone has very good off-axis rejection, but on-axis (as wide as it is) tends to be consistent. I used this on a singer-guitarist who likes to sway when she sings. Set to cardioid and aimed slightly upwards, it picked up very little guitar and responded to her swaying as if she was standing still. This is the part that hooked me.
It sounds quite nice. Pardon the emotives but it is very smooth. Not at all the hyped HF shelf you would expect from a cheap mic like this. I think the well-behaved off-axis rejection contributes to the "smoothness".
I know the ad copy says you can use this without a pop filter, but that depend on proximity. I was indeed able to record without a pop filter when the singer was a foot out. The closer you get, even with the inner mesh in place, you will need a pop filter at some point.
The figure-of-8 pattern has a VERY prominent proximity effect on the back end of the mic, and not so much on the front. When up close, the difference is very apparent. This won't matter so much in a situation where it is far from the source, but if you use this for BGV with a singer on each side you will definitely hear the dark/light dichotomy.
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