4. Directional Characteristics

Not all microphones pick up sound in the same way - for instance some are designed to respond primarily to sound approaching from a single direction, while others pick up sound from both the front and rear, but not from the sides. These directional characteristics are known as a microphone’s ‘polar’ or ‘pickup’ pattern, and are an important consideration when choosing a mic for speech. When recording voice on location, you will generally not want to capture too much of the surrounding sound, but with a meeting between a number of people, you might want the mic to have as big a spread as possible to capture all of those present. Here’s a look at the most common microphone patterns:

Omnidirectional

The response of a mic that has an omni pickup pattern remains more or less constant regardless of where the sound is coming from. These mics tend to be the most technically accurate and ‘natural’, but they may well also pick up sounds not intended for them. In the studio, they are often used as ambient mics, and they can be equally good for location recording when surrounding background ambience is required. Handheld omni mics are often used for location interviews, where they can be held halfway between interviewer and interviewee, picking up sound from both sides equally, without the need to continually move the mic back and forwards. They are particularly good in situations where there is little or no time to soundcheck.

Cardioid

The cardioid pickup pattern (sometimes also called ‘unidirectional’) is so-named because its range of capture looks a lot like a heart shape. Cardioid mics pick up sound to varying degrees in front of the diaphragm, while rejecting sound from behind it. This type of pattern is usually created by the use of ports behind the capsule. The ports are acoustic paths or ‘labyrinths’ for sound to reach the back of the diaphragm and effectively get lost so that only the sound from directly in front of the diaphragm is captured. The pattern known as ‘figure of eight’ is effectively two cardioid patterns back to back – it is most commonly associated with ribbon mics and not often found in reporting situations.

Whilst cardioid is the most common of response patterns, it does suffer from the ‘proximity effect’ – this means that the closer you are to the mic, the greater its bass response. Although this effect is much loved by late-night DJs, it’s not great for clarity, and so you should generally avoid holding the mic too close when using a cardioid microphone for speech.

Super and Hyper-cardioid

Super-cardioids have a good response from the front, but less response than a regular cardioid to sounds arriving at the sides. Hyper-cardioids take this a stage further and have a much narrower field of forward response. These types are very useful if the mic has to be used at some distance from the sound source, and they also offer control over ambient sound due to their extreme rejection of sound from the sides - this is why they’re often chosen for use in particularly ‘live’ atmospheres, such as sports events for instance.

Yhteyshenkilösi
Puhelin: +49-9546-9223-30
Faksi: +49-9546-922328
(1)
Juuri katsellut
Modal Argon8

Wavetable Synthesizer 8-Voice polyphonic, 37-Key keyboard with velocity (FATAR TP9/S) with aftertouch, 120 Wavetables divided into 24 banks of 5 morphable waveform sets, 28 Static wavetable processors, 32 Wavetable oscillators, 4 per voice, with 8 types including: Phase Mod...

(1)
Juuri katsellut
Rode VideoMic NTG

Rode VideoMic NTG; On-Camera Shotgun Microphone; Highly directional supercardioid polar pattern; Convenient cold shoe mounting on camera; Frequency response: 35 Hz – 20 kHz (±3 dB); High sensitivity: 50 mV, SPL: 120 dB; Peak warning light; -20 dB Pad switch;...

(1)
Juuri katsellut
Soundbrenner Core

4-in-1 Smart music tool in clock format 4 Functions: Watch, vibrating silent metronome, magnetic tuner and decibel meter, You always have your tools with you, whether you're practicing at home, recording in the studio or even performing on stage.,...

Juuri katsellut
Varytec Colors SonicStrobe

Varytec Colors SonicStrobe; LED stroboscope with ambient effect; Over 200 SMD 5730 LEDs provide bright and dynamic strobe and blinder effects; In addition, more than 140 SMD5050 RGB LEDs provide color accents in the background; special surface of the reflectors...

Juuri katsellut
Varytec Colors StarBar 12

LED Bar With 12 warm white beam LEDs and 12 RGB segments, Ideal as an eye catcher on the stage and in discos, Light and robust construction, Subdued grey soft frost cover Technical Data: Light source:...

(1)
Juuri katsellut
Epiphone Les Paul Custom Ebony

Electric Guitar Body: Mahogany, 5-Way body binding, Neck: Mahogany, Fretboard: Ebony, Pearloid Block fretboard inlays, Neck profile: SlimTaper, Scale: 629 mm (24.75"), Nut width: 43 mm (1.693"), 22 Frets, Pickups: ProBucker 2 (neck) and ProBucker 3 (bridge) humbuckers, 2...

Juuri katsellut
NEO Instruments micro Vent 122

NEO Instruments micro Vent 122; emulation of a Leslie 122; perfect for guitar, organ and keyboard signals; two selectable speeds (Speed1 continous, Speed2 Slow/Stop/Fast); Variable microphone to rotors distance; true bypass; 6.3mm jack input and output; dimensions: 113x 65x 47mm;...

Juuri katsellut
Rockboard Pedalboard w.Gig Bag DUO 2.2

Rockboard Pedalboard with Gig Bag DUO 2.2; pedalboard for effects pedals; for approx. 5 to 9 effects pedals (depending on size); sturdy and light aluminum construction; slotted design for easy pedal mounting; mounting holes for RockBoard LED Light (not included)...

Juuri katsellut
Quilter Phantom Block Pre Amp/Cab Sim

Quilter Phantom Block Pre Amp/Cab Sim; Pre Amp & DI for Electric Guitar; the high impedance input gets optimum tone from standard passive pickups, the Gain goes from clean to overdrive, a wide range Tone covers the most popular sounds...

(1)
Juuri katsellut
Moog Subsequent 25

Moog Subsequent 25; Analog Synthesizer; 25-Keys (semi weighted, velocity sensitive); Mono- and Duo-Paraphonic-Mode; two Oscillators with Sync and Pulse-width Modulation; Square Sub-Oscillator; Noise Generator; Ladder Filter (6/12/18/24 dB per Octave); two DAHDSR Envelopes; LFO; analog MultiDrive on the Filter Output;...

Juuri katsellut
Walrus Audio MAKO D1

Walrus Audio MAKO D1; effect pedal; Digital Stereo Delay Pedal; For live and studio applications; Stereo input and output; 5 delay programs: Digital, Mod, Vintage, Dual, Reverse; "Digital": transparent delay e.g. for rhythm guitar; "Mod": random pitch modulation of the...

(2)
Juuri katsellut
Harley Benton TUBE5 Celestion

Tube Combo for Electric Guitar 1 Channel, Power: 5 W / 1 W, switchable, Preamp tubes: 1x ECC83 / 12AX7, Power tubes: 1x 6V6GT, Equipped with 8" Celestion Super Speaker, Controls: Volume - Tone, Switch: Power - Attenuator 5...

anna palautetta
Palaute Löysitteko virheen tai haluatteko antaa palautetta?

Odotamme palautettanne ja korjaamme mahdolliset virheet pikimmiten.