In this guide
A polar pattern describes relative sensitivity by direction. Point the microphone’s intended pickup side toward the source, consider where unwanted sound arrives, and test in the actual room.
A microphone’s polar pattern describes its relative sensitivity to sound arriving from different directions. A cardioid microphone is generally most sensitive at the front and least sensitive toward the rear; an omnidirectional microphone is designed to respond more evenly around it. A figure-8 pattern is sensitive at the front and rear and less sensitive at the sides.
Patterns help you place a microphone, but they are not soundproof walls. A cardioid microphone can still capture a fan, another speaker or room reflections. Distance, orientation, room acoustics and frequency all affect the result. Shure’s directionality guide explains the common patterns and why real response can vary with frequency.
Microphone polar patterns compared
| Pattern | Typical directional response | Useful starting situation | Watch for |
|---|---|---|---|
| Cardioid | Strongest at the front; reduced sensitivity toward the rear. | One speaker or instrument with a stable position. | Off-axis sound and reflections remain; verify the front of the microphone. |
| Omnidirectional | Designed for a relatively even response around the microphone. | Capturing a group or the sound of a space when the room is suitable. | It also captures unwanted sounds around it; placement still matters. |
| Figure-8 / bidirectional | Front and rear pickup with reduced sensitivity at the sides. | Two sources positioned on opposite sides, when appropriate for the microphone. | The rear is a pickup area, not a rejection area; a shared recording is not two isolated tracks. |
| Supercardioid / hypercardioid | Narrower front pickup than cardioid, with a rear lobe. | A more focused source when the performer and microphone can stay aligned. | Some sound arrives from directly behind; the least-sensitive angles differ from cardioid. |
For video dialogue, see how a shotgun microphone is used and positioned. These are simplified descriptions. A published chart often shows response at particular frequencies, and a real microphone’s pattern is not perfectly uniform across the spectrum. Neumann’s pattern overview compares cardioid, omni and figure-8 designs.
What is a cardioid microphone used for?
Cardioid is a common starting point for close speech, singing or an instrument because the microphone favors sound arriving from its front. For a podcast, aim the intended pickup side at the speaker and consider placing a steady noise source toward the less-sensitive direction. Check the microphone’s manual: a side-address microphone may pick up from a different physical face than an end-address model.
The result is still a recording of the whole acoustic scene, weighted by direction. A loud keyboard, nearby second voice or reflected sound can remain audible. Moving a compatible microphone closer to the desired speaker can improve the balance with more distant noise, but may increase plosives, mouth sounds or low-frequency proximity effect. Use a comfortable, consistent position and listen to the complete voice.
Cardioid vs. omnidirectional
Choose cardioid when you want to favor a source in front of the microphone and can keep that source reasonably aligned. Choose omnidirectional when a more even response around the microphone suits the task, such as capturing a group or natural room sound. Neither is automatically better for every voice, room or application.
For example, one speaker at a desk may benefit from a cardioid microphone aimed toward them, with a fan positioned toward its less-sensitive side when practical. A group around a table may need wider coverage, but an omni can also capture more of the room and nearby distractions. Compare the actual setup before deciding. A polar pattern describes direction; it does not specify whether the microphone is dynamic or condenser, or whether its connection is USB or XLR.
What about supercardioid and figure-8?
Supercardioid and hypercardioid microphones generally have narrower front pickup than a cardioid, but also a small rear pickup region. Their least-sensitive directions are therefore not simply straight behind the microphone. Shure’s comparison explains that placement tradeoff. Keep the desired source in the useful front area and check the model’s chart before positioning an unwanted source or monitor.
A figure-8 microphone responds to both front and rear. It can be useful for two people facing one another or other deliberate arrangements, but both voices are combined in that microphone’s signal. It does not create a separate track for each person. The two-voice guide explains why separate source tracks offer more control.
How to test a microphone’s pickup direction
- Check the manual. Identify the intended front, the available pattern setting and whether the microphone is side- or end-addressed. Secure the stand and keep the setting unchanged for the first comparison.
- Choose a repeatable source. Speak the same short sentence at a consistent distance and normal level. Do not rotate a powered microphone or cable in a way that strains the connection.
- Record separate positions. With the source at the front, side and rear in turn, make short labeled recordings. Keep distance and input gain as consistent as practical; a human performance is not a calibrated measurement.
- Listen at a similar playback level. Compare voice level and tone, but also listen for room reflections and background sounds. Do not infer exact rejection values from an informal test.
- Try the intended setup. Place the speaker and noise source as they will be during recording. Test the loudest phrase for clipping and listen to a quiet pause.
The free microphone test can record a short local sample for playback. It does not measure a calibrated polar chart. Set input level separately with the microphone gain guide, and use the pop-filter guide if close speech produces low air bursts.
How to read a polar-pattern chart
A polar chart plots relative response around the microphone, usually with the front or on-axis direction marked as 0 degrees. The shape indicates how sensitivity changes with direction at the stated test frequency. Compare front, side and rear response on the chart supplied for your microphone, and check whether the manufacturer gives curves for more than one frequency.
A smaller response in one direction means less pickup relative to the reference, not guaranteed silence. Room reflections can reach the microphone from another direction, and a loud unwanted source may remain audible. If a sound is already mixed with speech, the cleanup chooser compares ways to address it. The voice isolator can test estimating speech from a mixture, but may leave noise or alter words. AI downloads require an account and sufficient credits, with the cost shown before download.
Common questions
Does cardioid mean the microphone only hears the front?
No. Cardioid microphones generally favor the front and reduce sensitivity toward the rear, but they can still capture sound from other directions and reflections.
Is cardioid the same as dynamic?
No. Cardioid describes directional response; dynamic describes a transducer family. A microphone can have a cardioid pattern and use a dynamic or condenser design.
Can I change the polar pattern on any microphone?
No. Some microphones have selectable patterns, while others have a fixed design. Check the exact model’s controls and instructions.
Which pattern removes all background noise?
None guarantees complete removal. Pattern, placement, source level and room acoustics all influence how much unwanted sound reaches the recording.