What is Directivity?  

Microphone directivity refers to its sensitivity to sounds from different directions, determining which sounds it effectively "hears" and which it rejects. This is one of the most critical characteristics of a microphone, directly impacting its performance in various applications.

Most Common Polar Patterns and Their Characteristics  

1. Omnidirectional 

The omnidirectional pattern exhibits equal sensitivity to sound pressure from all directions. It provides the best low-frequency response and the flattest frequency curve. Compared to other patterns, it is less sensitive to handling or wind noise. It is well-suited for recording in acoustically treated environments and time-difference-based stereo recording.      

Note: Its high-frequency pickup becomes more directional, resulting in greater attenuation of high-frequency signals from the sides (at 16 kHz, this effect transforms omnidirectional into a figure-8 pattern).In poor acoustic environments, omnidirectional microphones are generally not ideal. In live music settings with stage monitoring and amplification, they also pose significant feedback risks.

2. Cardioid 

The cardioid pattern is the most commonly used polar pattern. It achieves maximum sensitivity at 0° (front) and minimum sensitivity at 180° (rear). This pattern suits most recording scenarios, as it easily captures relatively dry sound by rejecting ambient room reverberation and background noise.

3. Supercardioid 

Compared to cardioid, the supercardioid pattern features lower sensitivity at the sides and slightly reduced rear rejection. It excels in live sound applications due to its higher gain-before-feedback. Like cardioid, it captures predominantly direct sound from the source, yielding extremely dry audio signals.

4. Figure-8 (Bidirectional) 

The figure-8 pattern shows equal sensitivity at 0° (front) and 180° (rear), with minimum sensitivity at 90° and 270° (sides). It is frequently used in stereo recording techniques (e.g., Blumlein and Mid/Side processing) and when rejecting side-originating sound is critical. Among all patterns, it offers the strongest side rejection, effectively isolating target sources even in multi-instrument live recordings. However, it has the weakest low-frequency response and is most susceptible to handling or wind noise.