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The polar patterns illustrated above represent the locus of points in polar coordinates that produce the same signal level output in the microphone if a given sound pressure level (SPL) is generated from that point. How the physical body of the microphone is oriented relative to the diagrams depends on the microphone design.
Two examples of different boundary mics (top) and a diagram of the elements of a boundary microphone. The diagram shows the location of the mic capsule, the plate, the aperture, and the pressure zone. In 1978, audio engineers Ed Long and Ron Wickersham studied the effects of the boundary layer in sound recording.
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.
For example, a microphone's pickup pattern illustrates its proportional response to an incoming sound from a given direction, and these patterns can be represented as polar curves. The curve for a standard cardioid microphone, the most common unidirectional microphone, can be represented as r = 0.5 + 0.5sin( ϕ ) at its target design frequency ...
A ribbon microphone, also known as a ribbon velocity microphone, is a type of microphone that uses a thin aluminum, duraluminum or nanofilm of electrically conductive ribbon placed between the poles of a magnet to produce a voltage by electromagnetic induction. Ribbon microphones are typically bidirectional, meaning that they pick up sounds ...
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.
The Soundfield microphone used to make Ambisonic recordings can be adjusted to mimic two microphones of any pattern at any angle to each other, including a Blumlein pair. In his early experiments at EMI with what he called "binaural" sound, Blumlein did not use this actual technique because he did not have access to figure-eight microphones ...
The front array is designed for minimum crosstalk, with the front left and right microphones having supercardioid polar patterns and angled at 90 degrees relative to the center microphone. [24] [25] It is important that high-quality small diaphragm microphones are used for the L and R channels to reduce off-axis coloration. [26]