The directional response of a microphone is the way the microphone responds to the sounds coming from different directions around it. This is determined by the way the case of the mic is designed, in a Condenser mic, the number of diaphragms it contains. In order to be able to effectively work with different types of mics in different situations, it's important to understand the differences between the typical directional responses. The directional response of a microphone is recorded on what's known as a polar diagram, and it's sometimes described as the polar pattern.
This polar diagram shows the signal pickup level, sometimes shown in decibels, from all angles and at different frequency ranges. To make matters a bit more confusing, all mics have different polar patterns at different frequencies. While a mic can be very directional at one frequency--usually one of the higher frequencies--it can be virtually non directional, or omni-directional, at another. The reason why the polar response is important is it determines how the mic can be used, which can make a big difference in multi-microphone settings where leakage from different sound sources can be a problem.
There are four typical patterns commonly found in microphone design. omni-directional microphone picks up sound equally from all directions. That doesn't mean that the frequency response is equal in all directions though. So, it's still best to point an omni directly at the sounds source for the most accurate pickup. The Cardioid microphone picks up best from the front of the microphone, but still picks up a bit to the side and to the back. This provides a more or less heart-shaped pattern, hence the name cardioid.
A Hypercardioid mic is just a more directional version of a Cardioid mic. That means it's even less sensitive to the sounds coming from the sides, but does pickup a bit from the rear. Figure 8 eight or Bi-directional microphones pick up almost equally in the front and the back, but nearly nothing to each side. The frequency response is usually slightly better on the front side of the microphone, so it sounds a bit brighter from that direction. A Figure 8 mic can be very useful when a high degree of sound rejection is required. Let's review these four polar patterns.
An omni-directional mic picks up sound at 360 degrees around it, although the frequency response is best from the front. Cardioid mic picks up in a heart-shaped pattern. While a Hypercardioid pattern is even less sensitive to sounds coming from the side. And finally, a Figure 8 or Bi-directional pattern picks up equally from the front and back, but almost nothing on the sides.
Author
Released
10/24/2012- Optimizing your listening environment
- Listening to how different microphone types affect recording
- Choosing the right microphone for the right recording application
- Positioning microphones for a wide variety of recording scenarios
- Utilizing proper gain staging, preamps, and direct boxes
- Avoiding phase cancellation
- Using a compressor, equalizer, and high-pass filter during recording
- Setting up a headphone mix
- Adding the right amount of compression or equalization
- Capturing great sounds from drums, guitars, basses, keyboards, pianos, strings, and vocals
- Creating a great drum set sound
- Getting the best out of any singer
- Dealing with microphone leakage
- Utilizing a variety of stereo miking techniques
- Setting up and producing a recording session
- Creating a rough mix in any digital audio workstation (DAW)
Skill Level Beginner
Duration
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Introduction
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Welcome2m 7s
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Using the exercise files1m 29s
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1. Monitoring
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Setting up your monitors4m 17s
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2. Microphone Basics
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Exploring direct boxes1m 9s
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3. Recording Basics
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Choosing a preamp1m 35s
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Setting up the mic preamp1m 39s
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Setting the record level2m 29s
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Using proper gain staging1m 46s
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Avoiding latency3m 51s
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4. Microphone Placement Basics
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Choosing the right mic2m 24s
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The secret to mic placement2m 12s
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Checking polarity3m 9s
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5. Recording the Drums
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Tuning the drums2m 19s
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Tuning tips and tricks2m 26s
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Using a subkick microphone1m 31s
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Adding a bottom snare mic1m 45s
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Miking the hi-hat2m 14s
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Miking the toms2m 24s
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Miking the cymbals3m 14s
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Miking the overall kit1m 25s
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Using room mics2m 2s
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Getting the drum sound2m 47s
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Checking the drum phase2m 18s
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Panning the drums2m 25s
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Tracking a solo drum part1m 10s
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6. Recording the Guitar
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Tracking the guitar part1m 11s
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7. Recording the Bass
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Miking the bass amplifier2m 13s
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Tracking the bass part1m 11s
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8. Recording Vocals
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Recording a scratch vocal1m 24s
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Doubling the vocal2m 52s
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9. Recording the Acoustic Piano
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Recording the piano part1m 13s
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10. Recording Horns
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11. Recording Acoustic String Instruments
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Recording a dobro1m 36s
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Recording the dobro part1m 13s
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Recording the string section1m 13s
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12. Recording Percussion
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Recording drum percussion1m 19s
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Recording hand percussion1m 17s
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13. Recording Electric Instruments
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Recording electric keyboards1m 58s
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Recording the synth part1m 14s
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14. Recording in Stereo
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Using the X/Y configuration3m 21s
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Using the ORTF configuration2m 27s
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Using a stereo mic1m 46s
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15. The Recording Session
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Setting up a talkback mic1m 27s
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Setting up the headphone mix2m 31s
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Setting up a click track2m 11s
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Setting up for overdubs2m 17s
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16. Setting Up a Rough Mix
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Setting up the effects3m 47s
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The rough mix of Simply Falling35m 35s
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Conclusion
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Goodbye1m 2s
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Video: Microphone directional response basics