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Microphone Chart Pattern

The document discusses various microphone types and their directivity patterns, including omnidirectional, bidirectional, cardioid, supercardioid, and hypercardioid. It explains how these patterns are formed based on the contributions of different microphone elements and their applications in various settings like orchestras and court scenes. Additionally, it includes illustrations of the different patterns and their characteristics.

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Suvojit Ghosh
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Download as PDF, TXT or read online on Scribd
2 views

Microphone Chart Pattern

The document discusses various microphone types and their directivity patterns, including omnidirectional, bidirectional, cardioid, supercardioid, and hypercardioid. It explains how these patterns are formed based on the contributions of different microphone elements and their applications in various settings like orchestras and court scenes. Additionally, it includes illustrations of the different patterns and their characteristics.

Uploaded by

Suvojit Ghosh
Copyright
© © All Rights Reserved
Available Formats
Download as PDF, TXT or read online on Scribd
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diaphrag

pressure variations make a light wit


In a microphone, sound
by causing pressure gradient on its
pressure inflicted on it, or microphones give omnidirectional is m
to and fro either by
All pressure types of bidirectional
two opposite surfaces. 2.3(a). The pressure gradient types result in axis of mic
pattern, as shown in Fig.illustrated in Fig. 2.3(b). Zero degree represents 2.3(b)
pattern. This pattern is In Fig.
sharply towards the source of sound. drawn
the microphone pointing by Figure-of-cight, while circles have been and
directivity is represented angles. Moving coil, crystal, capacitor
at other
for showing directive(treated in detailin Sections 2.4, 2.6, 2.7 and 2.9) are all
gain ano
of
carbon microphones microphone (treated in Section 2.5) is illu
pressure-type microphones. Ribbon
pressure gradient type.
90 1
120 60
90
60 0.8
120
0.6 30
30
150/ 0
150/

180
180

330
210
210 /330

240 300
240 300 270
270

Fig. 2.3(a) Omnidirectional pattern Fig. 2.3(b) Bidirectional pattern al

p
(Cardioid patterns are obtained by 120
90 1
60
combining an omnidirectional micro 0.8 di
0.6 H
phone with a bidirectional microphone 30
in series, mounted in the same hous 150,
0.4 b
ing. When the two elements contribute
02
equally (50:50), the resultant pattern f
180
is a cardioid (heart-shaped) pattenjas
shown in Fig. 2.4
The cardioid or heart-shaped pat
tern so obtained is suitable for orches 210 330
ti
tras and court scenes in dramas where t
a large number of persons are present. 240 300
Due to the practically weightless rib 270
bon, it gives the best result with en Fig. 2.4 Cardioid pattern
sembles and orchestras, as the light
ribbon can respond instantaneously to waveform of such music. In this tyP"
the miFute change in the complicated of microphone, there is null in the rea
Microphones 21
with maximum in the front and adequate amplitude on the sides. Directive gain
is maximum at 0°, but at 90° it is not zero, but is a little more than 0.5.
When the ratio of contribution of the omnidirectional and bidirectional
microphones is not 50-50, other cardioid patterns result. These are
1. Supercardioid
2. Hypercardioid
A Supercardioid pattern is the result when contributions of omnidirectional
and bidirectional elements are 37 and 63 per cent, respectively. This pattern is
illustrated in Fig. 2.5.
90 1 90
120 60 120 60
0.8 0.8

150,
0.6
30 150 0.6 30
0.4
02 02 0

180 180

210 330 210 330

240 300
240 270
300
270

Fig. 2.5 Supercardioid pattern Fig. 2.6 Hypercardioid pattern

cardioid, and
In a supercardioid pattern, the front lobe is narrower than the
This
also there is a narrow lobe in the rear. There are two nulls on the sides.
pattern is useful in handling court scenes in dramas.
A hypercardioid pattern is obtained when the contributions of the omni
directional and bidirectional elements are 25% and 75% respectively. The
Hypercardioid pattern is illustrated in Fig. 2.6.
the rear lobe is
In a hypercardioid pattern, the front lobe is narrower and
on the sides.
broader as compared to the supercardioid type.There are twO nulls
less
A hypercardioid pattern is capable of providing a more natural open andpicks
focused sound. It is easier to pick up multiple people with one stand. It
recording group
up even if it is not pointing precisely. It is very suitable for
discussions and conferences.
as in Fig. 2.3
Polar diagrams, illustrating varioustypes of directivity patterns taking R as
are governed by the following mathematical expressions,

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