Adjusting
the
relative
level
of
the
front
and
rear
allows
you
to
control
the
relative
sensitivity
of
the
front
and
back,
and
also
determines
where
the
null
in
the
pattern
will
be.
Rather
than
focusing
on
the
graphic
representation
of
the
patterns,
it’s
most
useful
to
listen
to
the
results.
Think
of
the
range
of
patterns
from
omni
at
one
end
of
the
spectrum
through
cardioid
in
the
middle,
to
figure
‐
8
at
the
opposite
end.
Don’t
focus
so
much
on
where
the
front
of
the
microphone
is
pointing
–
the
response
toward
the
front
is
fairly
uniform
for
all
patterns.
Anything
from
cardioid
through
the
figure
‐
8
end
of
the
spectrum
will
have
one
or
more
nulls
somewhere
in
the
pattern,
and
the
direction
and
width
of
this
“dead
zone”
make
a
big
difference
in
the
overall
sound.
As
you
change
patterns,
listen
to
how
the
overall
room
sound
changes.
If
you’re
working
close
to
the
microphone,
you’ll
also
notice
that
the
bass
boost
caused
by
proximity
effect
becomes
stronger
as
you
change
the
pattern
toward
the
figure
‐
8
end
of
the
spectrum.
In
general
we
recommend
that
the
two
outputs
of
the
C720
be
routed
to
discrete
channels
of
a
multitrack
session
recording
without
further
processing,
so
that
any
desired
modification
to
these
signals
may
be
done
in
mixdown
without
losing
any
of
the
original
information.
It
doesn’t
matter
whether
the
source