A microphone with a Figure-8 or bidirectional pickup pattern is sensitive to sound coming from the front and coming from the rear, but has a very high rejection for sound coming from the sides. This may not appear very useful to you, at first.
Figure-8 happens to be the natural pattern of ribbon microphones, and most multipattern condensers can be set to figure Other than that, figure-8 microphones are pretty rare. Apart from the major patterns omni, cardioid, and figure-8, there are some varieties of the cardioid pattern, the best known being wide cardioid and super- or hypercardiod. Wide cardioid is a mix of omni and cardioid, i. Wide cardioid is excellent for recording acoustic guitar and small vocal groups.
Super- and hypercardioid are patterns in-between cardioid and figure-8, i. Their maximum cancellation is somewhat left and right to the rear, in an angle of about degrees to the front. This can be useful in live situations. Hypercardioid microphones are also great for drums, e. The directionality of a microphone also has an effect on the so called proximity effect, i. Check it out. The advantage of using cardioid mics seems simple, right?
It records where you point it, and ignores everything else. Which is why it is the obvious choice for vocal mics. Supercardioid and hypercardioid patterns, while essential for filmmakers, are not commonly used in the recording studio. This last advantage is especially true with small diaphragm omni mics.
With ribbon mics , the physical make up of the design often requires a figure-8 polar pattern. If you like ribbon mics for their sound, the figure-8 pattern simply comes as part of the package. To isolate instruments in close proximity , figure-8 mics are ideal because they completely reject sound from the sides. With smart positioning, you can achieve more isolation with a figure-8 mic than with any other polar pattern.
One common trick is to place acoustic absorption at the rear end of the mic to block out any unwanted noises. While all these facts may be simple enough in theory…the only way to really get a feel for microphone polar patterns is to experiment.
Take some time to record different instruments , with different polar patterns , in different rooms …and listen to the differences in each combination. But what do they actually MEAN? Mic 2 has a figure-8 pattern — meaning the two blue areas on the front and back are sensitive, while the sides are ignored. Mic 3 has a cardioid pattern — meaning the green area in front of the mic is most sensitive, the sides are less sensitive, and the rear is ignored. Recordings that were done in a bad sounding room using an omni polar pattern might not lead to a satisfying result.
In most live situations where the picked-up signal is monitored and played back through the PA, feedback can be an issue. It is often used for various stereo recording techniques Mid Side, Blumlein.
It has the highest side rejection of all polar patterns making it very useful to deal with signals bleeding into the microphone coming from the side.
In live recording situations, you can achieve dry recordings although many instruments are recorded in the same room at the same time. In comparison to all other polar patterns, it has the least bass response, and it is the most sensitive to wind and handling noise. This polar pattern is ideal for recording a group of instruments, like a string quartet, for example. The distance factor describes how far away a directional microphone can be placed in comparison to an omnidirectional microphone while preserving the same ratio of direct and reflected sound.
The acceptance angle is the angle in which the sensitivity of the microphone is not reduced by more than 3 dB. It is not recommended to place a sound source outside the acceptance angle. Hi, my name is Thomas, and I'm working here as a content strategist. It's my job to create text.
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This blog makes you easily understand when…. Change the polar pattern after recording. Have you ever recorded something and afterward wished that you could still change a tiny detail?
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