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A boundary microphone (or pressure zone microphone) is one or more small omnidirectional or cardioid condenser mic capsule(s) positioned near or flush with a boundary (surface) such as a floor, table, or wall. The capsule(s) is/are typically mounted in a flat plate or housing.
The cardioid family of microphones are commonly used as vocal or speech microphones since they are good at rejecting sounds from other directions. In three dimensions, the cardioid is shaped like an apple centered around the microphone, which is the "stem" of the apple.
A cardioid microphone exhibits an acoustic pickup pattern that, when graphed in two dimensions, resembles a cardioid (any 2d plane containing the 3d straight line of the microphone body). In three dimensions, the cardioid is shaped like an apple centred around the microphone which is the "stalk" of the apple.
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.
The proximity effect in audio is an increase in bass or low frequency response when a sound source is close to a directional or cardioid microphone. [ 1 ] [ 2 ] Proximity effect is a change in the frequency response of a directional pattern microphone that results in an emphasis on lower frequencies.
The microphones should be as similar as possible, preferably a frequency-matched pair of an identical type and model. The result is a realistic stereo field that has reasonable compatibility with mono playback. Since the cardioid polar pattern rejects off-axis sound, less of the ambient room characteristics are picked up.
Alternatively, backward facing cardioid microphones can be placed closer to the front array for a similar reverberation pickup. [26] The INA-5 (Ideal Cardioid Arrangement) is a surround microphone array that uses five cardioid microphones resembling the angles of the standardized surround loudspeaker configuration defined by the ITU Rec. 775. [26]
The directionality of the 77-DX is variable. A rotating backshutter on the acoustic labyrinth, controlled by a screwdriver-operated slot at the rear of the microphone, allows the user to vary the microphone's pattern from omnidirectional in the fully closed position, to cardioid, to figure-8 (bidirectional) in the fully open position.