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A bidirectional microphone, also known as a figure-8 microphone, is a type of microphone that picks up sound from two opposite directions, typically from the front and the back of the microphone.
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The Faulkner Array microphone technique is a spaced pair technique that uses bi-directional, or figure-8 microphones instead of the more commonly used cardioid or omnidirectional. The two bi-directional microphones are spaced 20cm (approx. 8inch) apart. The microphones in a Faulkner Array face the same way at a 0° angle.
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Directionality is a microphones sensitivity to sound relative to the direction or angle from which the sound arrives. There are a number of different directional patterns available, and these are plotted in graphs known as polar patterns.
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Directional Microphone Examples. To really get to know what directional microphones are, let's run through some examples. Each of the examples below has a different directional polar pattern that we had mentioned above: Sennheiser MKH 416 (Shotgun/Lobar) Audix D4 (Hypercardioid) Electro-Voice PL35 (Supercardioid) Neumann KM 184 (Cardioid)
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Stereo Recording: Bi-directional microphones are often used in stereo recording setups. By using two figure-eight microphones arranged in an X/Y or Blumlein configuration, a spacious and natural stereo image can be achieved. This is particularly useful for recording choirs, orchestras, or capturing the ambience of a room..
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Bidirectional microphones (also called figure-of-eight microphones) are microphones that pick up sound well, or with high sensitivity, from the front and back but poorly, or with low sensitivity, from the sides. The above illustration shows a bidirectional microphone sound pick-up pattern.
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Bidirectional Microphone This type of microphone is based on the pressure gradient principle. The sound can reach both sides of the membrane. The microphone provides a signal whenever the sound is different on the front and the backside of the diaphragm.
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Bi-Directional microphones pick up sound from only two directions; from behind and in front of the microphone. This type of directionality is effective for picking up sound from both an audience and a speaker.
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The main microphone polar patterns are omnidirectional, cardioid, hypercardioid, supercardioid (cannon) and bi-directional (figure 8). Each of these polar patterns is represented by a polar diagram showing the pickup area of the microphone. The different types of directionality There are different types of polar patterns.
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An omni-directional microphone, as its name suggests, picks up sound equally from all directions. This is particularly useful when you want to capture the ambience of the space around the microphone.. The other main type of pickup pattern is the figure-of-eight or bi-directional pattern, in which sound is picked up equally from the front and.
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A bidirectional microphone has a figure-8 polar/pickup pattern. It is equally sensitive to sounds from the front and back while rejecting sounds from its sides (ring of silence). The sound captured from the front side capture is opposite in polarity to the sound captured to the rear side.
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Shure Brothers microphone, model 55S, multi-impedance "Small Unidyne" dynamic from 1951. A microphone, colloquially called a mic (/ m aɪ k /), is a transducer that converts sound into an electrical signal.Microphones are used in many applications such as telephones, hearing aids, public address systems for concert halls and public events, motion picture production, live and recorded audio.
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In this video I explain what a polar pattern is, demonstrate the differences, show how to read the polar pattern on a specification sheet, and let you know w.
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Bi-Directional (Figure-Eight): Bi-directional microphones pick up sound in two directions; in front of and behind the microphone, with rejection from both sides. The front and back sensitivity make them idea for stereo recording and for capturing two or more instruments. Figure 3 - Bi-directional microphones avoid picking up sound from the sides
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Understanding & Using Directional Microphones. Many of us do the vast majority of our recordings using mics with a cardioid polar pattern, but alternative patterns can give radically different — and sometimes much better — results. Hugh Robjohns explains the differences between these designs and the applications to which they're suited.