Essential Microphone Polar Patterns
Lesson 13 from: Audio Recording 101: Record Voice Audio for Video ProductionTomas George
Essential Microphone Polar Patterns
Lesson 13 from: Audio Recording 101: Record Voice Audio for Video ProductionTomas George
Lesson Info
13. Essential Microphone Polar Patterns
Lessons
Introduction and Welcome to this Course
00:50 2Listen to your Recording Environment
03:43 3Room Treatment Tips
03:07 4Dynamic vs Condenser Microphones
02:35 5Recommended Pro-Level Microphones
02:55 6Recommended Budget Level Mics
02:35 7Microphone Audio Comparisons
05:53 8What is an Audio Interface and How is it Useful
01:48Recommended Pro-Level Audio Interfaces
01:35 10Recommended Budget-Level Audio Interfaces
01:46 11My Thoughts on USB Microphones
00:45 12Microphone Positioning and Accessories
04:09 13Essential Microphone Polar Patterns
03:17 14Recommended Monitors and Headphones
03:55 15Other Audio Monitoring Tips
02:41 16Introduction to Capturing Audio
00:18 17Recommend Audio Recording Software and DAWs
06:28 18A Quick Look at Some Handy Recorders
02:39 19Audacity Introduction
00:45 20Setting up to Record Audio in Audacity
03:49 21How to Record Audio into Audacity
02:54 22Other Features of Audacity - Playback, Zoom, Undo + Save
04:15 23How to Export Audio out of Audacity
03:37 24Essential Audio Editing Tools in Audacity
08:07 25Removing Silence, Splitting + Joining Clips
03:17 26Essential Key Command or Keyboard Shortcuts in Audacity
03:06 27Removing Background Noise Introduction
02:48 28How to use the Noise Gate Effect in Audacity
12:54 29How to use the Noise Reduction Effect in Audacity
11:15 30Mixing and Processing your Audio Introduction
02:32 31A Quick Look at the Filter Curve or EQ Effect
10:35 32A Quick Look at Compression and the Normalize Effect
11:21 33How to set up an Effects Macro in Audacity
03:23 34Adding Audio Effects to Audio Clips in Premiere Pro
06:06 35Gain/Volume in Premiere Pro
03:36 36Parametric EQ - Part 1 : An Overview of EQ and the Plugin
11:08 37Parametric EQ - Part 2A : Mixing Examples
15:56 38Parametric EQ - Part 2B : Mixing Examples - Example 2
11:31 39Parametric EQ - Part 3 - More Settings + Features
05:14 40Noise Reduction in Premiere Pro - Part 1: DeNoise
09:24 41Noise Reduction in Premiere Pro - Part 2: DeReverb
06:25 42Audio Compression in Premiere Pro - Part 1: Introduction
02:47 43Audio Compression in Premiere Pro - Part 2: Threshold + Ratio
04:16 44Audio Compression in Premiere Pro - Part 3: Make up Gain
03:15 45Audio Compression in Premiere Pro - Part 4: Attack and Release + 2nd Example
06:30 46How to use a DeEsser Audio Effect in Premiere Pro
12:00 47How to use the Hard Limiter Audio Effect in Premiere Pro
06:48 48How to use an Audio Meter in Premiere Pro - Loudness Radar
08:28 49Behind the Scenes of my Audio Recording Equipment
07:16 50Thanks and Bye
00:12Lesson Info
Essential Microphone Polar Patterns
Hi there and welcome to this video where we're going to be looking at microphone polar patterns. So polar pattern really is just how sensitive the microphone is to sound from different directions. So in this video, we're going to have a look at some common mic polar patterns including omnidirectional cardioid, super cardioid and hyper cardioid and also figure of eight. So let's first have a look at omnidirectional. So we get two types of polar patterns really omnidirectional and unidirectional. So omnidirectional means the sound will be picked up equally all the way around the microphone and unidirectional means sound will not be picked up equally all the way around the mic, there will be a certain area or area that are more sensitive. So the omnidirectional polar pattern is very popular for Laval lay microphones like this microphone here as this cannot point exactly to my mouth. So the sound will be picked up equally all the way around this microphone. OK. Now let's look at cardioid w...
hich is the most popular unidirectional polar pattern. So for example, this microphone here is a cardioid microphone and it means sound will mostly pick up from the front of the mic and will be rejected from the sides and the most rejection will be at the back of this microphone. So you can probably hear the audio quite clearly now and less so now and even less so now. So a cardio microphone like this is very useful for rejecting any background sound. For example, if I type on my keyboard, a lot of this sound will be rejected with a cardio microphone like this one. OK. Now let's look at super cardioid and hyper cardioid similar to cardioid, the mic will pick up audio from the front and with super cardioid and hyper cardioid, there will be even more rejection from the sides and it will actually pick up a bit of sound from the rear of the microphone. So this microphone that you can hear right now is a Sennheiser 416. This is a hyper cardioid shotgun microphone. Obviously, you can hear the sound right now because it's pointing at my mouth. But if I go to the side, it's rejecting the sound. And if I go to the back, you'll be able to hear slightly because hyper cardioid and super cardio microphones are sensitive to sound right at the back of the microphone, but most of the sound will be picked up if you're at the front of the microphone like this. So super cardioid microphones are more directional than cardioid microphones. And hyper cardioid microphones are even more directional than super cardioid microphones and the last polar pattern we're going to look at is figure of eight. So this microphone is also known as a bidirectional and it pixel equally at the front of the microphone and the rear of the microphone. However, it does reject the sides of the microphone. So think of a cardioid but picking up equally at the front of the microphone and at the back of the microphone. So this may be useful for a duet. So two people singing at the same time or maybe an interview where there's two people speaking and you just want to use one microphone. However, I find it more useful to have separate microphones for each person, then you can mix them independently in post if you wish. OK. So there are some common microphone, polar patterns to summarize omnidirectional, picks up all the way around the microphone equally. Cardioid picks up at the front and rejects the size and most rejection at the black super cardioid or hyper cardioid is more directional than cardioid. So it picks up more of a narrow range and rejects the sides, but it is sensitive slightly at the back. And then we have figure of eight which picks up equally at the front and the rear but rejects the sides. OK? So it is useful to know about these different polar patterns before you purchase any microphones. So you know you're getting the right type of microphone for your needs. So thank you for watching this video. I hope you found it useful and I'll see you in the next one.
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