Operating the CL8
Simply put, proximity effect is the change in frequency response as the microphone position
is changed relative to the sound source. Any microphone exhibits its best frequency response
when pointed directly at the sound source (on-axis). Depending on the pickup pattern, the low
frequency response will increase, sometimes greatly, when positioned less than 12 inches away
from the sound source (off-axis). Understanding and knowing how to use the proximity effect
can be a tremendous help in getting just sound you looking for. The following sections details
the three available pickup patterns.
Cardioid
While Omni and Bi-directional microphones are very use-
ful for a variety of specialty applications, the majority of
miking situations in recording and live sound require uni-
directional or Cardioid microphones. The CL8 condens-
er’s pickup pattern is Super-cardioid, which offers even
more side-to-side rejection. The uni-directional nature
allows for better separation of instruments in the studio and more control over feedback in live
sound reinforcement. To select the Cardioid pickup pattern, set the pattern selection switch to
the center, Cardioid position indicated by the “heart shaped” icon. When positioned correctly,
the cardioid pickup pattern allows you to pick up more of the sound you want and less of the
sound you don’t want.
Omni
Omni, or omni-directional, microphones pick up sound
from all directions. To select the Omni pickup pattern, set
the CL8’s pattern selection switch to the right, “O” posi-
tion. You can use the omni pickup pattern if you want to
capture the ambient sound and natural reverb in a room
where an instrument or voice is being recorded. The Omni mode is also great for recording
ensemble performances from groups of vocals, brass, woodwind and other instruments with the
artists facing each other in a circle around the microphone. As an added benefit, the omni pat-
tern is the least susceptible to the proximity effect. This can be extremely useful when recording
artists who have a tendency to move their instrument, including their voice, around the micro-
phone while performing. In these situations, using a cardioid pattern can result in the frequency
response changing tremendously with just a few inches of movement resulting in a recorded
track with the lows moving up and down in volume. Using the omni pick up pattern can help
control these tricky miking situations allowing you to capture the best performance without
inhibiting the talent by forcing them to try to stay in a fixed position.
Figure 8
Figure 8, or bi-directional, mics pick up the sound directly
in front and back of the microphone while rejecting the
sound on the left and right sides. To select the Figure-8
pickup pattern set the CL8’s pattern selection switch to
the left, “8” position. In this mode it’s almost like having
two identical microphones facing back-to-back to each
other. This can be an ideal setting for capturing two artists singing a duet or laying down a back-
ground vocal track. Having the two artists face each other while performing can help capture
the emotions that may other wise be missed if two microphones are used. You can also create
some interesting slap back echo effects by positioning the CL8 in Figure-8 pattern between a
recorded instrument and a particular wall in the studio. The rear capsule will pick up the reflec-
tion of the sound off the wall, and by changing the distance of the microphone from the wall
you can actually change the delay time of the echo.
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