Polar Patterns Explained: Cardioid, Supercardioid, Omni & Figure-8

A microphone does not hear every direction equally.

Its polar pattern describes how sensitive the microphone is to sound arriving from different angles around the capsule.

That matters because a microphone is rarely hearing only the vocalist.

It is also hearing some combination of:

• room reflections
• computer fans
• air conditioning
• instruments
• headphone bleed
• speakers
• other performers
• sound arriving from behind or beside the microphone

Changing the polar pattern can change how much of those sounds become part of the recording, even when the microphone itself stays in exactly the same position.

That is why polar pattern should be treated as part of microphone technique, not simply as a specification printed on the box.

The four patterns most vocalists and home-studio creators will encounter are:

• cardioid
• supercardioid
• omnidirectional
• figure-8

None is universally better.

Each pattern changes where the microphone listens.

What Is a Microphone Polar Pattern?

A polar pattern is a map of how a microphone responds to sound arriving from different directions.

Imagine looking straight down at the microphone from above.

The polar graph shows how sensitive the microphone is:

• directly in front
• from the sides
• from behind
• and at the angles in between

A microphone's pattern affects things such as:

• room pickup
• rejection
• feedback behavior
• bleed
• proximity effect
• performer positioning
• microphone angle

Shure describes omnidirectional microphones as receiving sound around the microphone, while cardioid and supercardioid designs increasingly favor sound arriving from the front. Figure-8, or bidirectional, microphones receive sound strongly from the front and rear while rejecting more from the sides. Shure

But the diagram on a specification sheet is only part of the story.

Real microphones do not always maintain exactly the same polar pattern at every frequency.

A Polar Pattern Is Not a Wall

A cardioid microphone does not hear everything in front and absolutely nothing behind it.

A supercardioid microphone does not create a perfect cone that blocks all sound outside it.

And an omnidirectional microphone does not necessarily capture every frequency perfectly equally from every direction.

Polar patterns describe relative sensitivity.

Sound arriving from a less-sensitive direction may still be recorded, especially if:

• the source is loud
• the microphone gain is high
• the room is reflective
• the source is close to the microphone
• the polar response changes with frequency

Universal Audio's technical documentation makes an especially useful point: a microphone advertised as cardioid may behave differently at low, mid, and high frequencies. A large-diaphragm condenser can approach omni behavior at some low frequencies while becoming more directional at higher frequencies. Universal Audio Support

So think of a polar pattern as a behavioral map, not an invisible acoustic barrier.

Cardioid: The Most Familiar Vocal Pattern

Cardioid gets its name from the heart-like shape of its polar graph.

It is most sensitive toward the front of the microphone and less sensitive toward the rear.

That makes cardioid extremely common for:

• vocal recording
• podcasts
• streaming
• live vocals
• voiceover
• instrument recording

Its popularity makes sense.

The vocalist can work in front of the microphone while the rear rejection can help reduce unwanted sound from behind it.

But that does not mean cardioid automatically removes the room.

A reflective wall in front of the microphone can still send sound directly into the capsule.

Reflections from the ceiling, floor, and side walls can also reach the mic.

The pattern helps.

Placement still matters.

Where Should a Cardioid Microphone Face?

With a cardioid microphone, you generally want the desired source toward the front.

Then think about the rear of the microphone.

If there is a source you want to reduce, positioning that unwanted sound closer to the microphone's rear rejection area may help.

For example:

• computer fan behind the microphone
• noisy equipment
• another performer
• a reflective area you are trying to minimize

But do not simply point the rear at something and assume it disappears.

The frequency-dependent response of the actual microphone matters.

Cardioid and Proximity Effect

Cardioid is a directional pattern, so close use usually introduces proximity effect.

As the vocalist moves closer, low frequencies may become more prominent.

That can make a vocal sound:

• fuller
• heavier
• boomier

depending on the singer and microphone.

This is one reason microphone distance and polar pattern cannot really be separated.

The same microphone in omni may react very differently to close vocal placement.

Yamaha YDM505: A Straightforward Cardioid Example

The Yamaha YDM505 is a dynamic microphone using a cardioid pattern.

Yamaha lists the YDM505 as cardioid, while the related YDM707 uses a supercardioid pattern. Yamaha USA

That makes the two models useful for understanding an important idea:

Two microphones from the same family can interact differently with the room simply because their pickup patterns differ.

Cardioid is broader than supercardioid at the front, but has stronger rejection directly behind the microphone.

That last detail becomes important when we move to supercardioid.

Supercardioid: Narrower in Front, But Not Simply "More Cardioid"

Supercardioid is more directional toward the front than standard cardioid.

That can help reduce sound arriving from certain side angles.

Shure describes supercardioid as having a narrower front pickup region than cardioid. Yamaha's YDM707 is a current example of a supercardioid dynamic vocal microphone. Yamaha USA

But there is a tradeoff.

A supercardioid microphone typically has a small rear lobe.

That means it has some sensitivity directly behind the microphone.

This is one of the most important differences between cardioid and supercardioid.

Why the Rear Lobe Matters

Imagine using a supercardioid microphone while placing a loud source directly behind it.

You might assume that is the strongest rejection point because that is often true for cardioid.

With supercardioid, it may not be.

The strongest rejection points are typically angled away from the rear rather than exactly at 180 degrees.

That means microphone orientation matters.

This becomes especially important in:

• live monitoring
• rooms with noisy equipment
• podcast setups
• multi-microphone sessions
• vocal booths
• untreated rooms

You should position the microphone around its actual pattern, not around assumptions about the word "directional."

Yamaha YDM707 vs. YDM505

Yamaha makes the comparison easy because:

• YDM505: cardioid
• YDM707: supercardioid

Both are dynamic vocal microphones, but their directional behavior is different. Yamaha USA

That means the decision between them should not be reduced to:

Which one rejects more background noise?

A better question is:

Where is the unwanted sound coming from?

A narrower pickup pattern is only useful if you position it intelligently.

Omnidirectional: Listening Around the Microphone

An omnidirectional microphone is designed to respond to sound from around the microphone rather than heavily favoring one front-facing direction.

That makes omni useful when you intentionally want:

• natural room sound
• ambience
• multiple performers
• a less directional recording
• reduced proximity effect
• a more open acoustic perspective

Shure describes omnidirectional microphones as receiving sound evenly around the microphone in practical terms. Shure

But omni is often misunderstood.

Omni Does Not Mean "Bad for Vocals"

Omnidirectional microphones can be excellent for vocals.

The problem is that the room becomes more important.

If the room sounds beautiful, omni can capture that space naturally.

If the room sounds harsh, noisy, or reflective, omni may reveal more of those qualities than you want.

So omni is not:

bad for vocals

It is:

less dependent on directional rejection as a problem-solving tool.

That means you need to pay more attention to the environment.

Omni and Proximity Effect

A true omnidirectional pressure microphone does not exhibit the same proximity effect as directional pressure-gradient microphones.

That means moving closer does not create the same low-frequency buildup you may hear with cardioid or figure-8.

This can be useful when you want a vocalist to work relatively close without adding as much proximity-related bass.

But again, the room remains part of the equation.

Sony C-800G: Cardioid and Omni in One Microphone

The Sony C-800G provides selectable unidirectional/cardioid and omnidirectional operation. Sony explicitly lists both directivity modes in its current specifications. Sony Pro

That means the C-800G itself can demonstrate how dramatic a polar-pattern change can be.

In cardioid:

• the front is emphasized
• rear rejection becomes useful
• proximity effect becomes relevant
• microphone orientation matters strongly

In omni:

• the microphone becomes much more open to surrounding sound
• proximity effect is reduced
• room quality becomes more important

Same microphone.

Same tube.

Same capsule system.

Different directional behavior.

Sony C-800G and SoundBox C80

When the Sony C-800G is used with SoundBox C80, the polar pattern still matters.

SoundBox C80 manages the immediate acoustic environment around the microphone.

It does not override the microphone's pickup pattern.

So if the C-800G is set to cardioid, the relationship between:

• microphone orientation
• vocalist position
• surrounding reflections
• rear clearance

still matters.

If it is set to omni, the microphone will interact with the immediate environment differently.

The lesson is important:

isolation and polar pattern work together.

One does not replace the other.

Figure-8: Front and Back, Rejection at the Sides

Figure-8 is also called bidirectional.

It is strongly sensitive toward the front and rear of the microphone while rejecting more sound from the sides.

The polar graph resembles the number 8.

This pattern is especially useful when you intentionally want sound from two opposite directions.

It can also be useful when strong rejection from the sides is more valuable than rear rejection.

Shure describes bidirectional microphones as receiving sound from both the front and rear while rejecting more from the sides. Shure

Where Is Figure-8 Useful?

Figure-8 can be useful for:

• two vocalists facing one another
• certain interview arrangements
• mid-side stereo recording
• rejecting sound from the sides
• some room-mic techniques
• creative studio setups

For a single vocalist, figure-8 can also be used deliberately when the rear acoustic environment sounds useful.

But the rear lobe means you cannot ignore what is behind the microphone.

A reflective wall behind the mic may be captured strongly.

Figure-8 and Proximity Effect

Figure-8 microphones generally exhibit strong proximity effect.

That can make close placement sound dramatically different from farther placement.

Used intentionally, this can be a useful tonal tool.

Used accidentally, it can create excessive low-frequency buildup.

Again:

Neumann Multi-Pattern Microphones Show Why Pattern Choice Matters

Many classic and modern Neumann studio microphones offer multiple polar patterns.

For example, the current Neumann TLM 67 provides:

• omnidirectional
• cardioid
• figure-8

Neumann publishes separate polar-response diagrams for each mode. Neumann

That means one microphone can serve very different recording situations.

A singer can be recorded:

• cardioid for stronger directional control
• omni for more room
• figure-8 for front/rear capture and side rejection

The microphone model remains the same.

The acoustic strategy changes.

AKG C414: More Than Three Choices

The AKG C414 XLS is a useful example because it offers multiple selectable polar-pattern settings rather than only cardioid, omni, and figure-8.

AKG lists:

• omnidirectional
• wide cardioid
• cardioid
• hypercardioid
• figure-8
• intermediate settings between primary patterns

for a total of nine selectable positions. AKG

This shows that polar patterns are not limited to four isolated categories.

There is a continuum of directional behavior.

Wide cardioid, hypercardioid, subcardioid, and intermediate patterns allow engineers to fine-tune how much room or off-axis sound enters the recording.

Audio-Technica: Pattern Choice Inside One Microphone

Audio-Technica has also produced multi-pattern studio microphones.

For example, the AT4047MP supports:

• omnidirectional
• cardioid
• figure-8

and provides a switch for selecting among them. Audio-Technica Documentation

That makes it another useful example of why microphone type and polar pattern should be considered separately.

A condenser microphone is not automatically cardioid.

A dynamic microphone is not automatically cardioid.

The transducer type tells you one thing.

The polar pattern tells you something else.

Universal Audio Sphere Changes the Workflow Again

Microphone-modeling systems introduce another interesting approach.

Universal Audio's Sphere system allows supported polar patterns to be adjusted in software, including:

• omni
• wide cardioid
• cardioid
• supercardioid
• hypercardioid
• figure-8
• intermediate patterns

depending on the model and processing configuration. Universal Audio Support

UA also allows some pattern and microphone-model decisions to be changed after recording when using the Sphere system. Universal Audio Support

But even here, positioning still matters.

Universal Audio explicitly notes that microphone positioning remains important even when modeling and polar-pattern control are available after tracking. Universal Audio Support

Technology can expand your options.

It does not eliminate acoustics.

Polar Pattern and Room Sound

The microphone's pattern can change how much of the room enters the recording.

But do not simplify that to:

Distance is still critical.

A cardioid microphone placed far from a singer in a reflective room can capture a substantial amount of room sound.

An omnidirectional microphone placed very close to a vocalist may have a strong direct signal relative to the room.

The relationship depends on:

• microphone distance
• room size
• reflections
• source level
• pattern
• frequency
• microphone orientation

The pattern changes the directional balance.

Distance changes the direct-to-reflected balance.

They work together.

Polar Pattern and Microphone Distance

This is why the previous Journal article on Microphone Distance and Vocal Tone matters.

Changing distance can change:

• proximity effect
• room contribution
• off-axis pickup
• tonal balance

And polar patterns themselves can behave differently at different distances and frequencies.

Universal Audio notes that directional microphone behavior at low frequencies can change with distance because of proximity-effect physics. Universal Audio Support

So a polar graph should not be treated as a perfectly fixed shape floating around the microphone.

It is a useful representation of a complex real-world response.

Polar Pattern and Frequency

This is one of the most important concepts advanced beginners should understand.

Most published polar diagrams show several frequency curves because directionality can change with frequency.

A microphone might have:

• stronger rear rejection at one frequency
• weaker rejection at another
• different side response at high frequencies

That means off-axis sound may not simply become quieter.

It may also change in tone.

This is why two microphones that both say cardioid can sound very different when recording the same room.

Their on-axis frequency responses may differ.

Their off-axis responses may differ even more.

Off-Axis Sound Matters

Sound arriving from outside the primary pickup direction is called off-axis sound.

A good polar pattern is not only about how much off-axis sound is reduced.

It is also about how that sound changes when it arrives off axis.

Room reflections are largely off-axis information.

So are:

• other musicians
• loudspeakers
• computer noise
• headphone bleed

If the microphone colors off-axis sound strongly, those reflections or noises may enter the recording with a different tonal character.

This is one reason professional microphone selection goes beyond simply comparing front-facing frequency-response charts.

Cardioid vs. Supercardioid for Vocals

A simple comparison:

Cardioid

Often useful when you want:

• broad front pickup
• strong rear rejection
• easier performer movement
• conventional studio vocal placement

Supercardioid

Often useful when you want:

• narrower front pickup
• stronger rejection at certain side angles
• more directional isolation

But remember the rear lobe.

A supercardioid microphone requires more thoughtful positioning behind the microphone.

Neither is automatically better.

Cardioid vs. Omni for Vocals

Cardioid

May be useful when:

• the room needs more control
• unwanted sound exists behind the microphone
• you want directional proximity effect
• a close, focused setup suits the performance

Omni

May be useful when:

• the room sounds good
• you want natural ambience
• you want reduced proximity effect
• you want the vocalist to move more freely
• surrounding sound is part of the desired recording

Again, room quality matters.

Cardioid vs. Figure-8 for Vocals

Cardioid

Emphasizes one primary front direction.

Figure-8

Captures front and rear while rejecting more strongly from the sides.

Figure-8 may be useful when:

• side rejection is strategically valuable
• two performers face one microphone
• room sound behind the microphone is desirable
• a stereo technique requires it

It can also produce stronger proximity effect at close distance.

Supercardioid vs. Hypercardioid

These terms are sometimes used as if they mean the same thing.

They are related, but not identical.

Both are narrower than standard cardioid.

Hypercardioid generally narrows the front pickup further and has a somewhat larger rear lobe.

The practical lesson is not to memorize pattern names alone.

Look at the actual polar graph for the microphone.

Two microphones marketed with the same general pattern can still behave differently.

What Pattern Is Best in an Untreated Room?

There is no universal answer.

A cardioid or supercardioid microphone can be useful because directional rejection lets you reduce sound arriving from some areas of the room.

But you still need to position it correctly.

A cardioid pointed toward a bare reflective wall may capture that reflection strongly through its front.

A supercardioid placed with noisy equipment directly behind its rear lobe may capture more of that equipment than expected.

The solution is:

not simply:

What Pattern Is Best for Podcasting?

Cardioid and supercardioid are common because podcasters usually want one voice rather than the entire room.

But omnidirectional patterns can be useful for:

• roundtable conversations
• interviews
• room ambience

Figure-8 can be useful for two people sitting opposite each other with a microphone between them.

The right pattern depends on the format.

What Pattern Is Best for Streaming?

For a single streamer in a typical room, directional patterns are often practical.

A cardioid microphone can be positioned so the user's voice enters from the front while the rear faces toward some unwanted sound sources.

But if the microphone is positioned poorly, even cardioid will capture:

• keyboard noise
• reflections
• fans
• room sound

Pattern is useful.

Placement is still doing much of the work.

What Pattern Is Best for Singing?

Again, there is no single answer.

A singer may benefit from:

Cardioid

for focused, conventional vocal recording.

Supercardioid

when stronger directional separation is useful.

Omni

when the room sounds beautiful or proximity effect needs to be minimized.

Figure-8

when front/rear capture or strong side rejection serves the session.

The pattern should support the recording goal, not follow a rule.

Can You Change Pattern After Recording?

With a conventional microphone, usually no.

The pattern selected or built into the microphone determines how sound is captured at the time of recording.

But modeling systems such as Universal Audio Sphere can allow certain polar-pattern choices to be adjusted later because the system records information specifically designed for that processing workflow. Universal Audio Support

That does not mean every microphone recording can be converted from cardioid to omni after the fact.

The recording system must support it.

How SoundBox Fits Into Polar-Pattern Decisions

SoundBox addresses the immediate acoustic environment around the microphone.

It does not change a microphone's polar pattern.

If you place a cardioid microphone inside SoundBox, it remains cardioid.

If you use a compatible multi-pattern microphone in omni, the microphone still behaves as an omni microphone.

That means SoundBox and microphone pattern should be considered together.

For example:

A cardioid microphone may benefit from controlling reflections entering its front and sides.

An omnidirectional microphone may interact with the isolation environment differently because it receives sound around more of the capsule.

Do not treat portable isolation as a replacement for understanding the microphone.

SoundBox C80 and the Sony C-800G

The Sony C-800G provides selectable cardioid and omni operation. Sony Pro

SoundBox C80 provides additional physical clearance for compatible tube-microphone setups such as the C-800G.

Those are two separate functions:

C-800G polar pattern: determines directional sensitivity.

SoundBox C80: manages the microphone's nearby acoustic environment and physical clearance.

The C80 does not turn omni into cardioid.

It does not override the C-800G's polar response.

It gives the microphone a controlled immediate environment in which its selected pattern still operates.

Flex Pro and Polar Pattern

Flex Pro handles another part of the recording chain.

Its job is pop-filter positioning.

Changing Flex Pro position does not change the microphone's polar pattern.

But the filter and vocalist should still be aligned with the microphone's active pickup direction.

That is particularly important with:

• side-address condensers
• supercardioid microphones
• figure-8 setups
• microphones mounted at unusual angles

Know where the microphone is listening before you position the vocalist and filter.

How to Read a Polar Pattern Diagram

Polar diagrams can look complicated at first, but you only need a few basic ideas.

Imagine the microphone is in the center.

0 degrees

Usually represents the front.

90 and 270 degrees

Represent the sides.

180 degrees

Represents the rear.

The farther a response curve extends toward the outside of the diagram, the more sensitive the microphone is from that direction.

Where the curve moves inward, sensitivity is reduced.

When multiple curves appear, they usually represent different frequencies.

That is why a real polar chart may not look like one perfectly clean heart, circle, or figure-8.

Do Not Judge a Microphone From One Polar Diagram

A single simplified icon is useful for telling you:

cardioid

omni

supercardioid

or

figure-8

But serious placement decisions benefit from looking at the manufacturer's full polar graph.

Check:

• multiple frequencies
• rear response
• side rejection
• pattern consistency
• changes across frequency

This is especially useful when recording in imperfect spaces.

A Practical Polar-Pattern Test

If you own a multi-pattern microphone, you can hear these differences yourself.

Keep:

• microphone
• singer
• distance
• gain
• room position

as consistent as possible.

Then record the same phrase in:

1. cardioid
2. omni
3. figure-8
4. any intermediate patterns the microphone provides

Listen for:

• room contribution
• bass response
• off-axis reflections
• background noise
• proximity effect
• tonal balance

Do not judge only by volume.

Level-match the recordings if necessary.

A Simple Pattern-Selection Workflow

Before recording:

1. Identify the sound you want to capture.
2. Identify unwanted sound in the room.
3. Choose a microphone position.
4. Choose the polar pattern.
5. Check where that pattern rejects sound.
6. Set vocalist distance.
7. Position the pop filter.
8. Record a test phrase.
9. Listen to both the voice and the room.
10. Rotate or reposition the microphone if needed.
11. Change pattern only if it solves a specific problem or creates a useful sound.
12. Set final gain after positioning is complete.

The Pattern Does Not Choose the Microphone for You

Do not reduce microphone shopping to:

Thousands of microphones are cardioid.

They can have dramatically different:

• frequency responses
• sensitivity
• self-noise
• transient response
• off-axis coloration
• maximum SPL
• proximity effect
• physical design

Polar pattern is one part of microphone behavior.

It is not the whole microphone.

Polar Pattern Is Part of the Recording

Cardioid, supercardioid, omni, and figure-8 are not simply technical labels.

They are tools for controlling what becomes part of the recording.

Use:

cardioid when front focus and rear rejection suit the setup.

Use:

supercardioid when a narrower front pickup and angled rejection are useful.

Use:

omni when the surrounding environment is something you want to capture rather than avoid.

Use:

figure-8 when front-and-rear sensitivity and strong side rejection serve the recording.

But do not choose by name alone.

Look at:

• the actual microphone
• the polar graph
• the room
• the vocalist
• the distance
• the unwanted sound

Then listen.

The goal is not to choose the most directional microphone.

The goal is to decide what you want the microphone to hear.

These pickup patterns also matter when recording acoustic guitar, brass and other instruments in a small room.

Sources and Further Reading

• Audio Icon — SoundBox Specifications
• Audio Icon — SoundBox C80 Specifications
• Audio Icon — Flex Pro Specifications