Tip #2: Microphone Polar Patterns

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Tip #2: Microphone Polar Patterns

Tip #2:
Microphone Polar Patterns

(also called pickup patterns or directional patterns)

A polar pattern is a graph of a microphone's sensitivity vs. the angle of the incoming sound wave.

The farther from center a point on the graph is, the stronger is the mic signal at that angle.

Omnidirectional: Picks up equally in all directions.
Half-omnidirectional or hemispherical: Picks up equally over a 180 spherical angle. This is the pickup pattern of PZMs.
All of the following patterns are considered unidirectional because they pick up mainly in one direction.
Cardioid: “Heart-shaped” pattern that offers maximum rejection (null) at the rear of the microphone.
Supercardioid: Has a narrower pickup pattern than cardioid, but also has some rear pickup. Note that there are two nulls of maximum sound rejection.
Hypercardioid: Has a narrower pickup pattern than supercardioid, but also has more rear pickup than supercardioid. Note that there are two nulls.
Half-unidirectional: The pickup pattern of PCC microphones.
Bidirectional (figure-eight or cosine): Picks up mainly in two directions (in front of and behind the mic) and rejects sound from the sides.
Traits of Different Polar Patterns Omnidirectional All-around pickup Most pickup of room reverberation Not much isolation unless you mike close Low sensitivity to pops (explosive breath sounds) No up-close bass boost (proximity effect) Extended low-frequency response in condenser mics. Great for pipe organ or bass drum in an orchestra or symphonic band. Lower cost in general Unidirectional (cardioid, supercardioid, hypercardioid, hemispherical, half-cardioid, half-supercardioid) Selective pickup Rejection of room acoustics, background noise, and leakage Good isolation--good separation between recorded tracks Up-close bass boost (except in mics that have holes in the handle) Better gain-before-feedback in a sound-reinforcement system Coincident or near-coincident stereo miking Broad-angle pickup of sources in front of the mic Maximum rejection of sound approaching the rear of the mic Supercardioid Maximum difference between front hemisphere and rear hemisphere pickup (good for stage-floor miking) More isolation than a cardioid Less reverb pickup than a cardioid Hypercardioid Maximum side rejection in a unidirectional mic Maximum isolation--maximum rejection of reverberation, leakage, feedback, and background noise Bidirectional Front and rear pickup, with side sounds rejected (for across-table interviews or two-part vocal groups, for example) Maximum isolation of an orchestral section when miked overhead Blumlein stereo miking (two bidirectional mics crossed at 90 degrees)