5. When in the omni position (fully anti-clockwise) the microphone picks
up sound from all around the microphone and there is less proximity
effect. (This is an increase in lower frequencies (bass) when the sound
source is ʻcloserʼ to the microphone). The omni pattern is commonly used
for room micʼing or to record a more natural sound when close micʼing
instruments.
6. When in the figure-of-eight position (fully clockwise), the microphone
picks up sound from the front and rear, while rejecting sound from the
other two sides. This pattern is commonly used for interviews (2 people
using 1 microphone between them) or in conjunction with a cardioid
microphone to use the M-S stereo recording technique.
7. You are able to select any position between these three main ʻpolar
patternʼ settings. For example, if you choose a setting about half way
between the omni and cardioid position, you will notice some sound
being picked up from the rear of the microphone instead of being almost
completely rejected. This can be particularly useful when you require only
some sound to be picked up from the rear of the mic but not as much
sound from the rear as is present in the omni position.
8. Experiment with the microphone; listen to the various pattern, pad and
filter settings and decide what suits your current application best. Allow
several seconds for the microphone to stabilize to hear a noticeable
difference when adjusting the controls.
You wonʼt damage the microphone no matter which setting you have the
three controls in, so go ahead, and try any combination!
The Pad
9. This reduces the input level to the microphones inbuilt pre-amp and can
be adjusted by moving the lower of the three dials on the microphone.
When the dial is in the far left position there is no reduction in level of the
recorded source. When the dial is in the far right position, the level of the
recorded source is lowered by 10dB.
Any position between 0 and -10dB can be selected.
(NOTE: -3dB reduces the level by 50%)
The pad is useful when recording loud sound sources (such as
close-micʼing drums or amplifiers) to avoid overloading the microphones
