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An Introduction to Equalization - A free download from Audio Masterclass

Equipping Your Home Recording Studio - A free download from Audio Masterclass

An Introduction to Compression: Basic Compression - A free download from Audio Masterclass

Three types of musician you'll prefer to work with in the studio, and one type that you won't

Audio problems at the BBC - TV drama audiences can't understand what the actors are saying

A great-sounding live vocal mic that you might never have heard of [with video]

New monitors? Now you need to tune in your ears.

Click removal at the start of a track

What is production? Part 5: Mastering

Does inverting the phase of one channel of a stereo signal always sound bad?

Q: Why do I have to record acoustic guitar twice?

Do you need more plug-ins? Or more skills?

What is production? Part 3: Recording

Cardioid and hypercardioid patterns

Description and application of cardioid and hypercardioid microphones.

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To produce the in-between polar patterns one could consider the omnidirectional microphone where the diaphragm is open on one side only, and the figure-of-eight microphone where the diaphragm is completely open on both sides.

Allowing partial access only to one side of the diaphragm would therefore seem to be a viable means of producing the in-between patterns, and indeed it is.

A cardioid or hypercardioid mic therefore provides access to the rear of the diaphragm through a carefully designed acoustic labyrinth.

Unfortunately the effect of the acoustic labyrinth is difficult to equalize for all frequencies, therefore one would expect the polar response of cardioid and hypercardioid microphones to be inferior to that of omnidirectional and figure-of-eight mics.

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By David Mellor Friday April 11, 2003
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