Fig. 1
What is a polar pattern? As a sound source arrives at the microphone, a polar pattern represents the area(s) of greatest sensitivity relative to the angle of the sound source. Think of a polar pattern as you would a camera lens: the wider the lens (or camera setting), the more images you can put in frame. Even if you are not a camera buff, you most likely have several camera settings on your smart phone (portrait, standard, panorama). For microphone polar patterns, there are three main choices as well: cardioid, figure eight, and omni [Figs. 1, 2, and 3, respectively]. FYI, there are other polar patterns (hyper-cardioid, super-cardioid, etc.), but for now I'm going to focus on the most usable three for recording purposes. Understanding these patterns can help you make better recordings by perceiving what your mic can sonically "put in frame" and what will be "out of frame." One last thing before we begin: Some microphones have a fixed polar pattern (non-adjustable), while others offer a choice of multiple polar patterns.
"Understanding these patterns can help you make better recordings by perceiving what your mic can sonically 'put in frame' and what will be 'out of frame.'"
The most common pattern is cardioid. The benefit of using this pattern is that it has a wide sweet spot and offers great rejection at the back of the mic. This means that whatever the capsule of the mic is pointed towards will be "in frame," and things behind the mic will be greatly minimized. This offers greater control when you want to capture the most of the sound source you've aimed the mic at while minimizing everything else. Classic mics like the Shure SM57 and SM7B are fixed cardioid-pattern mics. If you're recording your acoustic guitar in a room where someone else is playing an instrument (or singing), you want to maximize your guitar and minimize the bleed of the other musician. You can achieve this by playing your guitar directly opposite the other musician, get some separation, and mic your guitar about 4 to 5 inches away from the 14th fret.
Fig. 2
What if you're playing a duet and you want to record the other player equally well, with only one mic? If you have a mic that has a figure-eight polar pattern, you can. Sit opposite each other, place the mic in the middle and equidistant from both of you. Then set your levels and go! Most large-diaphragm condenser mics will have all three basic adjustable patterns (cardioid, figure eight, and omni), and many offer even more choices. For instance, the Rode K2 ($699 street) is continuously variable (all positions), the AKG C414 XLII ($1,099 street) has five choices, and the AKG C12 VR ($5,999 street) has nine patterns. The figure-eight pattern also gives great rejection for sound sources that are not directly in front or behind the mic.
Fig. 3
Perhaps you want to record your alternative acoustic band more evenly? Use the omni (omnidirectional) setting of your mic and place it in the room where you think things are more or less balanced. So, if you have a full band, don't place it near the drummer and expect the acoustic guitar to be equally as loud. Remember that the mic, while getting sound from everywhere and rejecting nothing, is still going to pick up the sound source that is closest and also loudest. Move the mic closest to the singer(s) and the instruments that naturally struggle to compete with the drums, and then move that group further away from the drummer until a more balanced sound is achieved.
Until next time, keep experimenting and have fun.
Bluebird SL
This mic's onboard switchable 100 Hz high-pass filter and -20 dB pad opens the flexibility to track a wide variety of sound sources, from detailed vocals to full-frequency guitar recordings.
SM57
Long considered a studio and stage staple, this versatile and affordable dynamic mic is uniquely designed to handle the high-pressure sound that explodes from amps and cabs.
MD 421-II
Continuing in the tradition of the company’s popular MD 421, this dynamic mic’s full-bodied cardioid pattern and 5-position bass control makes it a solid choice for many instruments.
ATM650
This neodymium-magnet-equipped dynamic mic features a multi-stage, flat-grille design for precise, close-in positioning, and has a frequency response tailored for the clear sound reproduction of guitar cabs.
NTI
Whether recording vocals, acoustic instruments, or amp rigs, this 1"-diaphragm condenser features a handmade capsule designed for the smooth sound players expect from a vintage, solid-state mic.
C414 XLII
This condenser mic doesn’t come cheap, but it provides nine polar patterns to choose the ideal setting for multiple applications/environments, and boasts an impressive dynamic range of 152 dB.
R-10
This passive ribbon mic is said to offer a balanced sound field with a flat frequency response and a maximum SPL of 160 dB at 1 kHz, so players can close-mic loud sources without fear of overload.
X1 R
The tough construction of this mic was designed to handle any SPL, and its hybrid old and new ribbon technology provides all the organic qualities of ribbon sound, but with more versatility.
M 160
This double-ribbon mic that’s been used on countless rock classics in many applications features a hypercardioid pickup pattern, and is known for its transparency, transient response, and warmth.
CR-14
The dual, low-mass ribbon element of this mic is reported to possess a better sensitivity rating than most single-ribbon designs, leading to fast and accurate transient response and a 148 dB SPL capability.
[Updated 7/26/21]
As we approach NAMM and CES season, there’s no shortage of new recording tools vying for our attention. Here are some of the latest whose promised features slapped us out of our holiday stupor. We haven’t tested them all yet, but we’ve read enough to make us want to!
Positive Grid BIAS Professional
Positive Gridrecently made a mobile-recording splash with BIAS iOS, an inexpensive amp-modeling app that wrings excellent tones from iPads and iPhones. Now they’ve introduced a desktop version: an AU/VST/AAX/RTAS plug-in that works with most current Mac and PC DAWs. BIAS offers extreme customization via a chain of virtual components, letting you specify everything from modeled tone stack and rectifier tube through cab choice, simulated mic placement, and the onscreen appearance of your faux-amp. You can share your creations and download ones from other users via the integrated “ToneCloud” browser. One killer feature is the new amp-matching function: Record a snippet on an amp you’d like to profile, approximate it as closely as possible with BIAS’s standard controls, and then apply matching—which molds your EQ spectrum to mimic the target tone. The BIAS plug-in is attractive, powerful, and just plain fun—and like most amp modelers, it’s a great sound-design tool for non-electric guitar tracks. (BIAS also offers the $99 BIAS Desktop, which omits amp matching, ToneCloud, and some expansion packs included with the pro version.)$199 direct
positivegrid.com
Line 6 Sonic Port VX
Guitarists on the go love the convenience and low cost of today’s mobile audio interfaces, but we’re less enamored with their often flimsy construction, or cumbersome breakout cables that make recording a clumsy ordeal. Line 6’s latest interface addresses both concerns. Its plastic trapezoidal enclosure feels solid and is noticeably lacking in protruding knobs with pot shafts that tend to snap under the rigors of the road. It has both USB and Lightning jacks to connect to your laptop or iOS device. There are instrument- and line-level inputs for recording electric guitars and basses, as well as keyboards, drum machines, and the like. The unit includes two built-in condenser microphone systems (a stereo pair plus a front-facing mono capsule) for tracking acoustic guitar, vocals, or band rehearsal without schlepping additional mics and cables. The s outputs can feed PAs, amps, powered monitors, and analog recording inputs. Thoughtful extras include a tabletop stand/mic-stand adapter, a 1/4" camera-tripod thread, the ability to power both Sonic Port and your iOS device from a single power supply, and a bundled copy of Line 6’s Mobile POD app, an amp/effect modeler for iOS. Sure, there are many I/O options in this price range, but few can match Sonic Port VX’s ingenious design and savvy, guitar-centric features.$199 street
line6.com
Slate Media Technology Raven MTi
Tablet-based recording is still defining itself, and desktop systems will probably remain the pro standard for years to come. Yet even recordists with access to top-tier studio systems envy one iOS tablet feature: a multi-touch interface that lets you control several parameters simultaneously. For many engineers, adjusting one control at a time with a mouse or trackpad doesn’t cut it, hence the popularity of control surfaces modeled after analog mixing desks. But these can cost $10 grand or more. Enter Raven MTi, a 27" touchscreen interface that lets you adjust up to six controls simultaneously. Yeah, sliding fingers across a screen feels nothing like piloting physical faders and knobs, but the system seems to match the functionality and workflow of a physical console at a price that many serious project-studio owners can afford. You can even adjust plug-ins by touch as if they were outboard gear. The system is highly customizable via many layout, shortcut, and hot-key options. Raven MTi currently supports only Mac-based Pro Tools and Logic systems, though Slate says support for PCs and other DAWs (including Cubase/Nuendo and Live) is coming soon.$1,999 street
slateproaudio.com
Zoom TAC-2
The Thunderbolt data-transfer protocol kicks ass—it’s twice as fast as USB 3.0 and 12 times faster than Firewire. It lets you do more in less time, with fewer glitches and clocking issues and less latency when overdubbing. Thunderbolt also provides a hefty 10 watts/18 volts—enough to power fancy convertor chips without an external power supply. So far, Thunderbolt has appeared mostly in rackmount gear and premium mobile devices such as the Universal Audio Apollo Twin. But Zoom’s TAC-2 is one of several new mobile devices offering Thunderbolt functionality at a home-studio price. The 2x-in/2x-out interface boasts XLR/TRS inputs, phantom power, low-latency monitoring, and Burr Brown mic preamps. You can capture instrument-level electric guitars and basses, line-level keyboards, and input from mics. TAC-2 might also suit listeners who store hi-res music collections on their computer drives and seek a superior link to their monitors. With its sleek silver enclosure and chunky multi-function knob, TAC-2 bears a more-than-passing resemblance to the pricier Apollo Twin, but the two units are apples and oranges—or at least apples and pears. TAC-2 is simpler and, unlike Apollo, isn’t paired with proprietary plug-ins, though there’s a simple software component to help set levels, access secondary functions, and add global reverb effects. TAC-2 supports 24-bit resolution and sample rates up to 192 kHz.$399 street
zoom-na.com
Resident Audio T4
Like the Zoom TAC-2 also profiled here, Resident Audio’s T4 is one of the first gadgets to offer Thunderbolt’s superior transfer speed, low-latency performance, and greater power capabilities at a solidly project-studio price. It’s billed as the world’s first Thunderbolt bus-powered, 4-channel interface—no external power supply required. The control layout is simple: The four combo XLR/TRS input jacks are switchable between instrument and line level, and each has a dedicated gain control. There are also knobs for master volume, headphone level, and input/output mix—and an LED ring indicates the current setting for each. There’s phantom power, MIDI I/O for remote level control, and a choice between 2-channel “mix” output and 4-channel “multi-channel” output. (No need to switch between them—T4 chooses automatically based on how many of the four 1/4" output jacks are being used.) T4 supports 24-bit resolution and sample rates up to 192 kHz. It’s compatible with all Thunderbolt Macs and some Thunderbolt-enabled PCs.$499 street
residentaudio.com
Tascam DR-22WL
Zoom, Tascam, Sony, and others have offered many appealing handheld digital recorder options in recent years. But the DR-22WL—Tascam’s new entry-level model—boasts clever new features at a more-than-modest price. While it lacks the four-channel capability and XLR mic inputs of its big brother, the $299 DR-44WL, both models can create their own wi-fi networks to enable wireless transfer and streaming. They also support wireless transport control via DR Control, Tascam’s free iOS/Android app—perfect for when you’re standing next to your amp at rehearsal, with the recorder across the room, positioned for an ensemble mix.The built-in condenser mics are configured as an X/Y pair for spacious stereo sound.A camera-style “scene” dial provides instant access to common settings, from high-input ones suitable for solo acoustic guitar to heavily padded ones capable of capturing brutally loud concerts and rehearsals without clipping. There’s also a dedicated input-level knob, location marking, and onboard reverb. And while the DW-22WL is strictly a 2-track recorder, a looper-like overdub function lets you build composite recordings without sacrificing your original file.
$149 street
tascam.com
Rode iXY-L
Armed with an iPhone or iPad, do you really need another handheld recorder? Maybe not. The weakest audio links on phones and tablets are their cheap built-in mics. Third-party mic upgrades have been around almost as long as iOS, but they too have tended to be sonically underwhelming. But iXY-L, a snap-on stereo condenser mic in X/Y configuration, looks like a promising option. Similar to the mics on handheld recorders from Zoom, Tascam, and Sony, it connects to your device via its Lightning port. (Rode also offers a 30-pin version suitable for older iOS gizmos.) The unit performs its own A/D conversion, bypassing Apple’s audio circuitry and enabling 24-bit resolution and sample rates up to 96 kHz. Windscreen and zippered carrying case included.$199 street
rodemic.com
GoPro HERO4 Music Black
These days a portable HD video camera is practically essential gear for promoting your band, documenting gigs, or wowing YouTube with your preternatural shred skills. GoPro, known for creating near-bulletproof cameras that boldly rush in where most digital devices fear to tread, has bundled their latest flagship model, the HERO4 Black, with a set of specialized mounts perfect for securing the camera to headstocks, mic stands, pedalboards, or the rim of your drummer’s drool bucket. The camera boasts the latest GoPro specs: 4K video support at 30 fps, 12 mega-pixel photos, automatic low-light mode, a wide-angle lens, and extensive wi-fi and Bluetooth connectivity.$499 street
gopro.com
Blue Microphones Mo-Fi Powered Headphones
Best known for creating stylish, bang-for-the-buck microphones, Blue recently launched the Mo-Fi headphone line. Light, they ain’t—at 1.03 pounds, they’re nearly double the weight of, say, Beats Studios or Sony MDRs. That difference in heft is due to powerful built-in amps and drivers that purportedly provide the ample headroom and sound quality associated with external audiophile preamp units. The headphones power down automatically when not in use, extending battery life for the absent-minded. And when the juice does run out after 12 hours or so, you can recharge via USB. (No worries if you’re not near a power source—these cans also operate in battery-free passive mode, and there’s a bottom-whoopin’ enhanced bass mode, as well.) A multi-jointed headband design and cushy ear cups improve the odds of a comfy fit.$349 street
mofiheadphones.com
Soundtoys Soundtoys 5 Bundle
Do tone-warping digital stompboxes from Eventide, Strymon, and the like make you want to explore equally startling effects in the software realm? Soundtoys plug-ins may be your perfect port of call. Soundtoys’ superb delay, filtering, and modulation effects go far beyond the expected, often via superb pitch-shifting algorithms whose quality smokes that of many hardware units. Soundtoys UIs are a pleasure to work with, thanks to nested interfaces that put the commonest controls front and center, while letting you go “under the hood” for total tweakazoid manipulation as desired. Their guitar-friendly gain controls faithfully mimic analog preamps, allowing you to fine-tune effect response to suit your setup. Just try popping in a Soundtoys plug-in like Filter Freak or Crystallizer without encountering startling new sounds! The upcoming Soundtoys 5 will introduce Primal Tap (a new, retro-flavored delay plug-in) and a virtual effect rack. The latter will allow you to assemble any combination of Soundtoys effects in a single plug-in instance, and view them simultaneously in the same window. Soundtoys supports all leading plug-in formats for Mac and PC. Talk about dangerous toys!$TBA
soundtoys.com
Sinevibes Singularity, Malfunction, and Molecule
Sinevibes is another great resource for guitarists who love breaking sound barriers. The European developer offers innovative yet budget-conscious Mac-only plug-ins, almost all of which sell for under $40. (Or you can by all 18 Sinevibes plug-ins for $269—a killer deal for tonal troublemakers.) Their latest creation, Singularity ($39), is an ambitious delay plug-in that lets you apply any three of 22 effect algorithms to your effect trails while tweaking them via four independent modulators. Other recent products include the circuit-bent noise bomb Malfunction ($19), and Molecule ($39), an ambitious multi-effector that divides your sound into three selectable frequency bands and lets you apply separate effects to each. These are powerful tools at puny prices—and the first whack is free: Visit the company’s website to snag a complimentary download of Atom, a cool, tempo-synched filter boasting dual modulators, many filter types, and a randomizing “chaos” function.sinevib.es