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Mid/side coincident technique employs a bidirectional microphone (with a figure of 8 polar pattern) facing sideways and a cardioid (generally a variety of cardioid, although Alan Blumlein described the usage of an omnidirectional transducer in his original patent) facing the sound source.
As with directional microphones, the polar pattern for an "omnidirectional" microphone is a function of frequency. The body of the microphone is not infinitely small and, as a consequence, it tends to get in its own way with respect to sounds arriving from the rear, causing a slight flattening of the polar response.
The pair consists of an array of two matched microphones that have a bi-directional ("figure-eight") polar pattern, positioned 90° from each other. Ideally, the transducers should occupy the same physical space; since this cannot be achieved, the microphone capsules are placed as close to each other as physically possible, generally with one ...
The sensitivity pattern of a bidirectional microphone (red dot) viewed from above. In a moving-coil microphone, the diaphragm is attached to a light movable coil that generates a voltage as it moves back and forth between the poles of a permanent magnet. In ribbon microphones, a very thin light metal ribbon (usually corrugated) is suspended ...
Bidirectional microphone pattern. Based on public domain images by User:Dachsund like Image:Omnipattern.png and Image:Shotgunpattern.png. I just took either his or other images from the web, imported them into Inkscape, and sketched on top of them. Then I did simplify path a lot. Partially an experiment in SVG, partially just making new images.
The microphone uses a bi-directional polar pattern. [17] The microphone is connected using a Western Electric jack connector designated 4069, which adapts the microphone's three-pin output to a standard XLR connector. [18] Sensitivity (at 1,000 Hz Open Circuit Voltage)-65dB re: 1 Volt/Pa [19] Impedance 300 ohms Produced 1950s–present
The microphone's diaphragm is placed between the two ports; sound arriving from an ambient sound field reaches both ports more or less equally. Sound that's much closer to the front port than to the rear will make more of a pressure gradient between the front and back of the diaphragm, causing it to move more.
The resolution can be increased and the sweet spot enlarged by adding groups of more selective directional components to the B-format. These no longer correspond to conventional microphone polar patterns, but rather look like clover leaves. The resulting signal set is then called Second-, Third-, or collectively, Higher-order Ambisonics.