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Media College (Chương 1 : Âm Thanh) (7,8) - Page 3 PDF Print E-mail
Written by tuyenphuc   
Thursday, 18 March 2010 10:57
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Directional Properties

Every microphone has a property known as directionality. This describes the microphone's sensitivity to sound from various directions. Some microphones pick up sound equally from all directions, others pick up sound only from one direction or a particular combination of directions. The types of directionality are divided into three main categories:

  1. Omnidirectional
    Picks up sound evenly from all directions (omni means "all" or "every").
  2. Unidirectional
    Picks up sound predominantly from one direction. This includes cardioid and hypercardioid microphones (see below).
  3. Bidirectional
    Picks up sound from two opposite directions.

To help understand a the directional properties of a particular microphone, user manuals and promotional material often include a graphical representation of the microphone's directionality. This graph is called a polar pattern. Some typical examples are shown below.


Uses: Capturing ambient noise; Situations where sound is coming from many directions; Situations where the mic position must remain fixed while the sound source is moving.



  • Although omnidirectional mics are very useful in the right situation, picking up sound from every direction is not usually what you need. Omni sound is very general and unfocused - if you are trying to capture sound from a particular subject or area it is likely to be overwhelmed by other noise.



Cardioid means "heart-shaped", which is the type of pick-up pattern these mics use. Sound is picked up mostly from the front, but to a lesser extent the sides as well.

Uses: Emphasising sound from the direction the mic is pointed whilst leaving some latitude for mic movement and ambient noise.


  • The cardioid is a very versatile microphone, ideal for general use. Handheld mics are usually cardioid.
  • There are many variations of the cardioid pattern (such as the hypercardioid below).



This is exaggerated version of the cardioid pattern. It is very directional and eliminates most sound from the sides and rear. Due to the long thin design of hypercardioids, they are often referred to as shotgun microphones.


Isolating the sound from a subject or direction when there is a lot of ambient noise; Picking up sound from a subject at a distance.


  • By removing all the ambient noise, unidirectional sound can sometimes be a little unnatural. It may help to add a discreet audio bed from another mic (i.e. constant background noise at a low level).
  • You need to be careful to keep the sound consistent. If the mic doesn't stay pointed at the subject you will lose the audio.
  • Shotguns can have an area of increased sensitivity directly to the rear.



Uses a figure-of-eight pattern and picks up sound equally from two opposite directions.

Uses: As you can imagine, there aren't a lot of situations which require this polar pattern. One possibility would be an interview with two people facing each other (with the mic between them).


Variable Directionality

Some microphones allow you to vary the directional characteristics by selecting omni, cardioid or shotgun patterns.

This feature is sometimes found on video camera microphones, with the idea that you can adjust the directionality to suit the angle of zoom, e.g. have a shotgun mic for long zooms. Some models can even automatically follow the lens zoom angle so the directionality changes from cardioid to shotgun as you zoom in.

Although this seems like a good idea (and can sometimes be handy), variable zoom microphones don't perform particularly well and they often make a noise while zooming. Using different mics will usually produce better results.

Microphone Impedance

When dealing with microphones, one consideration which is often misunderstood or overlooked is the microphone's impedance rating. Perhaps this is because impedance isn't a "critical" factor; that is, microphones will still continue to operate whether or not the best impedance rating is used. However, in order to ensure the best quality and most reliable audio, attention should be paid to getting this factor right.

If you want the short answer, here it is: Low impedance is better than high impedance.

If you're interested in understanding more, read on....

What is Impedance?

Impedance is an electronics term which measures the amount of opposition a device has to an AC current (such as an audio signal). Technically speaking, it is the combined effect of capacitance, inductance, and resistance on a signal.

Impedance is measured in ohms, shown with the Greek Omega symbol Ω or the letter Z. A microphone with the specification 600Ω has an impedance of 600 ohms.

What is Microphone Impedance?

All microphones have a specification referring to their impedance. This spec may be written on the mic itself (perhaps alongside the directional pattern), or you may need to consult the manual or manufacturer's website.

You will often find that mics with a hard-wired cable and 1/4" jack are high impedance, and mics with separate balanced audio cable and XLR connector are low impedance.

There are three general classifications for microphone impedance. Different manufacturers use slightly different guidelines but the classifications are roughly:

  1. Low Impedance (less than 600Ω)
  2. Medium Impedance (600Ω - 10,000Ω)
  3. High Impedance (greater than 10,000Ω)

Note that some microphones have the ability to select from different impedance ratings.

Which Impedance to Choose?

High impedance microphones are usually quite cheap. Their main disadvantage is that they do not perform well over long distance cables - after about 5 or 10 metres they begin producing poor quality audio (in particular a loss of high frequencies). In any case these mics are not a good choice for serious work. In fact, although not completely reliable, one of the clues to a microphone's overall quality is the impedance rating.

Low impedance microphones are usually the preferred choice.

Matching Impedance with Other Equipment

Microphones aren't the only things with impedance. Other equipment, such as the input of a sound mixer, also has an ohms rating. Again, you may need to consult the appropriate manual or website to find these values. Be aware that what one system calls "low impedance" may not be the same as your low impedance microphone - you really need to see the ohms value to know exactly what you're dealing with.

A low impedance microphone should generally be connected to an input with the same or higher impedance. If a microphone is connected to an input with lower impedance, there will be a loss of signal strength.In some cases you can use a line matching transformer, which will convert a signal to a different impedance for matching to other components.

Microphone Frequency Response

Frequency response refers to the way a microphone responds to different frequencies. It is a characteristic of all microphones that some frequencies are exaggerated and others are attenuated (reduced). For example, a frequency response which favours high frequencies means that the resulting audio output will sound more trebly than the original sound.

Frequency Response Charts

A microphone's frequency response pattern is shown using a chart like the one below and referred to as a frequency response curve. The x axis shows frequency in Hertz, the y axis shows response in decibels. A higher value means that frequency will be exaggerated, a lower value means the frequency is attenuated. In this example, frequencies around 5 - kHz are boosted while frequencies above 10kHz and below 100Hz are attenuated. This is a typical response curve for a vocal microphone.


Which Response Curve is Best?

An ideal "flat" frequency response means that the microphone is equally sensitive to all frequencies. In this case, no frequencies would be exaggerated or reduced (the chart above would show a flat line), resulting in a more accurate representation of the original sound. We therefore say that a flat frequency response produces the purest audio.

In the real world a perfectly flat response is not possible and even the best "flat response" microphones have some deviation.

More importantly, it should be noted that a flat frequency response is not always the most desirable option. In many cases a tailored frequency response is more useful. For example, a response pattern designed to emphasise the frequencies in a human voice would be well suited to picking up speech in an environment with lots of low-frequency background noise.

The main thing is to avoid response patterns which emphasise the wrong frequencies. For example, a vocal mic is a poor choice for picking up the low frequencies of a bass drum.

Frequency Response Ranges

You will often see frequency response quoted as a range between two figures. This is a simple (or perhaps "simplistic") way to see which frequencies a microphone is capable of capturing effectively. For example, a microphone which is said to have a frequency response of 20 Hz to 20 kHz can reproduce all frequencies within this range. Frequencies outside this range will be reproduced to a much lesser extent or not at all.

This specification makes no mention of the response curve, or how successfully the various frequencies will be reproduced. Like many specifications, it should be taken as a guide only.

Condenser vs Dynamic

Condenser microphones generally have flatter frequency responses than dynamic. All other things being equal, this would usually mean that a condenser is more desirable if accurate sound is a prime consideration.


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