Notes

Microphone Polar Patterns and Stereo Configuration Session Notes
The audio and video materials are mostly self-explanatory. However, it might be useful to have a few hints on
what you should be listening for. (Bear in mind however that this isn't a text book on microphones, so please
consult good quality written material for further explanations of microphone technology and the theory behind
the various stereo configurations. You may wish to enroll on the Audio Masterclass Music Production and
Sound Engineering online course where these topics are covered in detail.)
Firstly, the on-axis sound quality of any microphone is its most important feature. Listen to the polar pattern
examples where the speaker is directly in front of the microphone. Assess the sound quality. Ask yourself, does
it sound like a real person speaking, or does it sound like a person speaking into a microphone?
These Schoeps microphones are very well-respected for their natural sound quality, so the on-axis sound should
indeed be very good. You might however detect small differences between the various polar patterns.
Next, still with regard to the single-microphone examples, listen to the reverberation when the speaker is
directly in front of the microphone. There will be distinct differences here because the microphones have
different directional properties. Ask yourself, which captures the most reverberation, and which captures the
least, bearing in mind that the distance is the same for each recording?
Now you should listen to the complete rotations. Listen out for these features...
• Is the omni mic truly omni? Compare the 0 degree and 180 degree positions, both for speech and the
high-frequency source. In practice, few so-called omnidirectional microphones approach perfection in
this respect. This mic is very good, many are very poor in comparison.
• Listen to the 180 degree position for the cardioid microphone. It is picking up hardly any direct sound
(none in theory), so all of the sound you hear is reverberation from the room.
• Also listen to the 45 degree position for the cardioid microphone and compare it with the 0 degree
position. Cardioid microphones are commonly used up to this angle of pickup and perhaps a little more.
Is the sound quality the same? The level will be a little lower.
• Microphones are seldom used to pick up direct sound at angles greater than 45 to 60 degrees. However,
they always pick up reverberation and perhaps other instruments from their rearward angles. If a
microphone does not sound at least pleasant (if not entirely accurate), then its performance on
reverberation and spill from other instruments will be poor.
• Listen to the pickup of the supercardioid microphone at the 180 degree position, and positions adjacent
to that. You should be able to hear clearly that the 180 degree position is a little bit sensitive; certainly
more so than the cardioid, which is completely insensitive at this angle. Hypercardioid microphones are
even more sensitive at the rear.
• For the figure-of-eight microphone, the rear pickup should be identical to the front pickup, although it is
in the opposite phase.
When you feel that you have fully assimilated the polar patterns, listen to the stereo configurations. You should
listen out for these features...
• The sensation of stereo is produced by the two microphones being angled differently, and/or being
spaced apart. In the two coincident configurations, there is no spacing between the mics. Listen carefully
to how this sounds compared to the ORTF and spaced configurations.
• Spacing the microphones unfortunately degrades mono compatibility. Try panning the mics into mono,
in each configuration. You will hear that at certain angles, the sound is not as good as it is at the 0 degree
position.
• Consider for each configuration whether the audio image you hear corresponds to the position you see.
In theory, the figure-of-eight configuration should be most accurate in this respect, between the angles of
plus and minus 45 degrees.
• In the figure-of-eight configuration, the rear pickup is perfectly useable. However, the regions between
45 degrees and 135 degrees, and minus 45 degrees and minus 135, are 'no-go' areas. The signals from the
two microphones are out of phase. You can see this if you zoom in on the waveform display. You will
also be able to hear it.
Please note that the video segment entitled 'The Fly' contains strong language and may not be suitable for all.

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Microphone Polar Patterns and Stereo Configuration Session Notes

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