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Polar Pattern
An important characteristic of any microphone is its directionality or polar pattern.
The MTR231 features a dual-membrane capsule allowing for a choice of three
individual polar patterns: omnidirectional, unidirectional (cardioid), and bidirec-
tional (figure-8). The microphone pattern can be selected using the three-position
slide switch below the right side of the grill. Each pattern has distinct pick-up
characteristics with respect to the sensitivity and frequency response to sounds
arriving from different directions. The following section discusses some of the
features of each pattern, to help you choose the best setting for you application.
Omnidirectional - The omnidirectional setting reproduces sound from all directions,
(including off-axis), with an even frequency response, which makes it resistant to
the phenomenon know as proximity effect. It captures a greater amount of ambi-
ent sound than the other settings, and thus will include more of the room sound
than when using a directional setting. The omnidirectional setting is great for
recording ensemble performances including group vocals, brass, woodwind, and
other instruments with the artists facing each other in a circle around the mi-
crophone. To select the omnidirectional pickup pattern, set the pattern selection
switch to the left position, indicated by the circle icon.
Unidirectional (cardioid) - The cardioid pickup pattern is the most widely used for
studio and live miking applications. It captures sound in front of the microphone
and rejects sound from the sides and back, which allows for better separation of
instruments in the studio, and picks up more of the instrument sound in relation
to the sound of the room. The separation also allows for more control and more
gain before feedback in live sound reinforcement situations. To select the cardioid
pickup pattern, set the pattern selection switch to the center position, indicated
by the "heart-shaped" icon.
Bidirectional (figure-8) - This setting captures sound directly in front and back of
the microphone while rejecting sound on the left and right sides, and has minimal
off-axis frequency response deterioration. It is very useful in a variety of stereo mi-
crophone techniques. The figure-8 pattern can be used to simultaneously capture
two instruments or vocalists by positioning the microphone directly between them,
so one is addressing the front of the microphone and the other the rear. To select
the figure-8 pickup pattern, set the pattern selection switch to the right position,
indicated by the "8" icon.
See the section on "Microphone Placement" on page 8 and the section on
"Stereo Microphone Techniques" on page 10 for some considerations when
placing the microphone in different recording applications.
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