When choosing microphones for just about any application, understanding microphone polar patterns is crucial. The polar pattern of your microphone will dictate which microphone you use and how you use it, whether you’re recording live or in the studio, at high or low SPL (Sound Pressure Level).
So what exactly are they?
Every microphone has a three-dimensional responsiveness area called a polar pattern. It is the region where your microphone can pick up sound the most effectively above a certain volume. The frequency and even the volume of that frequency can affect how this pattern behaves.
However, not all microphones are constrained to a single pickup pattern. AKG C414XLS and C-314 microphones, for example, have intelligent capsules that can produce a variety of pickup patterns. With more options available to you in the studio, the microphones’ versatility is thereby increased. The following seeks to classify the various pickup patterns that are offered on the market and, more importantly, provide examples of how they can be used in actual situations when using microphones with a single pickup pattern.
Cardioid
Among all polar pickup patterns, this is possibly the most widespread. It is intended to pick up audio coming from directly in front of the microphone while reducing audio coming from the back. This obviously makes it favourable for live situations as it reduces audio coming from the rear of the mic, such as other musicians on stage, monitors, and FOH (Front Of House).
It also aids in lowering feedback with the latter two. It’s also helpful for recording scenarios in which you want to isolate the source from the surrounding space. Finally, cardioid offers the ability to capture particular sound sources while reducing the amount of background noise when recording in high SPL situations, such as drum kits, for example.
Super-Cardioid
While Super-Cardioid is similar to regular cardioid, it is a little more focused. As a result, it has an even tighter pickup pattern and rejects even more sound coming from the mic’s back and sides.
What makes cardioid preferable to super-cardioid, then?
The principal reason is that a performer must maintain a relatively still stance while recording due to the super cardioid’s narrow field. This is not always possible when performing live, and singers, in particular, may frequently move outside of the pickup pattern of the microphone. On the other hand, they are better at rejecting feedback, so in circumstances where the performer is still, a super-cardioid may be preferable. It’s important to consider the mic’s small back area because it often picks up sound from the stage monitors. The extremely narrow super-cardioid pickup pattern is excellent for recording a single instrument or isolating a singer’s voice from any accompanying instruments in a studio setting.
Hyper-Cardioid
Despite belonging to the same cardioid family as the super, the hyper goes a step further. It provides an extremely constrained and fixed field for audio recording. It’s essential that the audio source stay fixed when using hyper-cardioid in live settings. A wishy-washy sound can be produced even when veering just a little off-axis.
Additionally, it can be challenging to position stage monitors due to the additional sensitivity at the back of the microphone. In microphones such as lectern microphones, where a speaker is typically in one place, hyper-cardioid can be used very effectively. Many “pencil” microphones will use a hyper-cardioid for precise and directional audio capture when recording.
Omni Directional
As its name implies, this pickup pattern is used to record sound coming from all angles of the microphone. These patterns are ideal for recording sources that have a very natural sound because, in addition to picking up the audio source, they will also pick up the room’s reflections and other sounds. Additionally, they can be used to record large sound sources, like an orchestra or choir, in their entirety.
Typically, lavalier microphones also feature an omnidirectional pattern so that the sound can be recorded regardless of how the speaker moves their head. Omnidirectional microphones should be used with caution in live settings because they are prone to feedback and will pick up anything that happens on stage, wanted or not. Additionally, the omnidirectional pattern will pick up anything that could negatively affect your sound when recording in a room that has not been treated for acoustics.
Figure 8
Another pattern where the name gives it away is the figure 8 pickup, or bidirectional as it is also known, which picks up sound on either side of the microphone while rejecting sound along the 180-degree line. When recording duets in a studio, is especially helpful because both artists can sing at once while one is on each side of the microphone. It can also be used as overheads for orchestral groups and drum kits because it covers such a large area. Just take care where you place it because it won’t pick up anything along a 180-degree axis. Given the wide pickup pattern of the figure 8 microphone and the rarity of its use in live applications, unless you are working in an extremely controlled environment, it’s not recommended to use a figure 8 live.
So there you have it, hopefully, this article has de-mystified microphone polar patterns for you, so that the next time you have a choice to buy, hire or borrow a microphone for a particular situation, you’ll be informed enough to ask the question, What polar pattern does the microphone have?
