Your SlideShare is downloading. ×
  • Like
Microphone Patterns
Upcoming SlideShare
Loading in...5

Thanks for flagging this SlideShare!

Oops! An error has occurred.


Now you can save presentations on your phone or tablet

Available for both IPhone and Android

Text the download link to your phone

Standard text messaging rates apply

Microphone Patterns



Published in Education , Technology , Business
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Be the first to comment
    Be the first to like this
No Downloads


Total Views
On SlideShare
From Embeds
Number of Embeds



Embeds 0

No embeds

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

    No notes for slide


  • 1. Microphone Patterns Mics are defined by their pattern vs their sensitivity.
  • 2. Omni-directional
  • 3. Omni-directional
    • 360 degree spherical pattern
    • Sounds the same from any angle
    • Good for handheld interviewing since mic angle is not critical
    • Good for lavs worn under clothing since mic angles can shift due to clothing & physical pose
  • 4. Cardioid
  • 5. Cardioid
    • Aka Uni-directional
    • Heart shaped?
    • Frontal facing
    • Sound diminishes as we move around the mic
    • Most sensitive in the front, reduced at the side, and almost gone in the back
  • 6. Cardioid
    • Good for reducing feedback & background noise
    • Okay for trained reporters
    • Cardioid lavs often used for live presentations to reduce feedback
    • Cardioid condenser boom mics used to reduce echo in tight interiors
  • 7. Bi-directional
  • 8. Bi-directional
    • Figure 8 shaped
    • Picks up from sides, but not front nor back
    • The sides are merged as MONAURAL, not stereo Left/Right.
    • Cannot control the gain of the two sides independently. Would require 2 cardioid mics to do that!
  • 9. M-S Stereo
    • Mid-Side stereo
    • Allows adjustment of left/right width
    • Achieved by varying mix of a bi-directional mic overlapped by a cardioid mic
    • Bi-directional mic is + on one side and – on the other…
    • Cardioid is + on both sides
    • M+S and M—S yield Left/Right
  • 10. M-S Stereo
    • Stereo effect is created by matrixing the signals from the two mics
    • Very dependent on correct phase relationships. Big trouble if phase is not maintained throughout xfer and mixdown.
    • Requires headphone matrix box to hear stereo in the field.
    • Great tool if you have control over recording, transfer, edit, and final mix. If not, better to use X-Y stereo technique.
  • 11. Hypercardioid
  • 12. Hypercardioid
    • Aka “short shotgun”
    • Very directional
    • Slight pickup at tail 180 degrees
    • Least sensitive 120 degrees
    • Compresses foreground/background, just like a telephoto lens
    • Best when deployed above talent. Talent is on-axis, and background noise is off-axis.
  • 13. Ultra-directional
    • aka “long shotgun”
    • Extremely directional
    • Slight tail
  • 14. About Shotgun Mics
    • Very directional on-axis
    • Less directional as we work around to the sides
    • Least directional 120 degrees off-axis
    • Slight increase in sensitivity at tail
    • May not be flat response off-axis: some freq’s are rejected more than others. Distant, hollow sound
    • Flat off-axis = lower volume, no loss in quality
  • 15. About Shotgun Mics
    • When used horizontally (like a rifle), they pick up talent as well as everything behind talent
    • Horizontal may be okay for sound effects, but rarely for dialogue
    • Generally, tighter pattern = more echo
    • Wider pattern = less echo