material
is
the
two
channels
from
the
mic
(mixed
during
the
session)
or
as
they
are
played
back
from
the
session
recording
–
the
signals
are
still
the
same.
But
while
you
are
getting
familiar
with
the
microphone’s
capabilities,
try
mixing
the
two
channels
live.
Try
some
of
the
experiments
described
here.
You’ll
need
an
ordinary
mixer
with
the
mic
plugged
in
to
two
channels.
Be
sure
the
gain
is
set
to
exactly
the
same
for
both
channels
and
the
EQ
set
to
bypass.
Of
course
the
simplest
pickup
is
just
to
use
the
front
signal
by
itself.
This
is
a
well
controlled
standard
cardioid
pattern
and
is
excellent
for
closeup
vocals,
detailed
instrument
pickup
and
large
ensemble
recording.
Note
how
the
sound
color
changes
as
you
move
around
the
microphone
–
more
proximity
effect
and
“reach”
for
sounds
arriving
from
the
front,
less
toward
the
sides,
and
a
sharp
null
directly
behind
the
mic.
Adding
some
of
the
rear
‐
facing
cardioid
signal
allows
the
standard
cardioid
pattern
to
be
adjusted
to
suit
the
pickup
requirements.
Try
some
experiments
with
your
pickup
in
a
reasonably
live
room,
so
you
can
hear
the
effect
of
your
adjustments
on
the
overall
pattern.
Adding
a
little
bit
of
the
rear
‐
facing
cardioid
(say,
at
‐
12
dB
relative
to
the
front)
will
reduce
the
depth
of
the
null
in
the
back
of
the
mic,
producing
a
sub
‐
or
wide
cardioid
pattern
–
less
directional
than
the
standard
cardioid,
and
with
a
greater
level
of
room
ambience.
Proximity
effect
is
reduced
too,
so
if
the
performer
is
moving
around
too
much
and
causing
tonal
shifts,
this
can
help
fix
it.
Listen
to
the
room
sound
become
a
little
more
live
and
the
overall
pickup
a
little
more
open
as
you
bring
up
the
level
of
the
rear
signal.
If
you
do
the
same
thing
but
with
the
rear
signal
inverted
in
phase,
the
result
becomes
more
directional
(up
to
a
point)
as
you
increase
the
inverted
‐
rear
signal.
In
this
case
the
null
toward
the
back
of
the
microphone
splits,
forming
a
null
to
either
side
of
180
degrees.
At
about
‐
12
dB
relative
to
the
front,
a
hypercardioid
pattern
is
formed,
with
nulls
at
about
140
and
220
degrees.
The
overall
rejection
of
reverberant
or
room
sound
is
highest
in
this
configuration,
even
though
the
null
to
the
rear
of
the
mic
is
not
as
deep
as
in
the
straight
cardioid
mode.
You’ll
notice
much
less
“room
tone”
and
a
greater
“reach”
with
the
mic
in
this
mode,
but
with
more
pronounced
low
frequency
proximity
effect.