Feedback / Microphone: Difference between revisions

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=== Directional Microphones ===

==== Principles ====

Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid|Cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.

~~Directional microphones "collect" less sound from directions other than what they~~'~~re supposed~~ to ~~amplify~~ (the ~~voice, or an instrument~~) ~~and hence are less likely to feed back~~.

Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/Hypercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).

~~In addition, most~~ directional microphones ~~have~~ a ~~strong behavior called~~ [[Proximity Effect|proximity effect]]. ~~This is the strong buildup of bass and low-mid response as~~ the source ~~(say~~ the ~~voice) to~~ microphone ~~distance decreases~~. ~~For microphones intended to sound~~ natural ~~when the voice is very~~ close ~~-- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies~~ from sources ~~at a distance~~, including loudspeakers ~~being used to amplify the voice~~, ~~are largely rejected~~ by ~~the microphone~~. This is ~~a real plus~~ in ~~terms~~ of ~~avoiding microphone feedback~~.

Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.

Most directional microphones also offer a helpful characteristic known as the [[Proximity Effect|proximity effect]]. As the source moves closer to the microphone, low and low‑mid frequencies become fuller and more pronounced. Microphones designed for close‑up vocal use take advantage of this: they deliver a natural tone at close range while reducing low‑to‑mid frequency content from distant sources, including nearby loudspeakers. This selective emphasis further improves feedback performance.

Omnidirectional microphones, by contrast, maintain a consistent tone regardless of distance. This can be ideal in studio environments where uniformity is the goal. On stage, however, their equal sensitivity in all directions means they capture more ambient sound and offer less natural rejection of low‑to‑mid frequency energy. As a result, they provide less gain‑before‑feedback than directional designs.

Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.

====Omnidirectional and Unidirectional Microphones====

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 === Directional Microphones ===
 ==== Principles ====
-Use a directional microphone. [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/Hypercardioid]] is better than [[Microphone Directionality#Cardioid|Cardioid]], which is better than [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]]. All sound waves impinging on the microphone from a direction other than the intended signal is "noise" and will lower the threshold of feedback.
-Directional microphones "collect" less sound from directions other than what they're supposed to amplify (the voice, or an instrument) and hence are less likely to feed back.
+Choose a '''directional microphone''' to maximize gain‑before‑feedback. A [[Microphone Directionality#Supercardioid_/_Hypercardioid|Supercardioid/Hypercardioid]] pattern provides the strongest focus on the intended source, followed by [[Microphone Directionality#Cardioid|Cardioid]], with [[Microphone Directionality#Omnidirectional Microphone|Omnidirectional]] offering the widest pickup (the least desirable in most live sound applications).
-In addition, most directional microphones have a strong behavior called [[Proximity Effect|proximity effect]]. This is the strong buildup of bass and low-mid response as the source (say the voice) to microphone distance decreases. For microphones intended to sound natural when the voice is very close -- say one of a number of popular stage vocal microphones -- what this means is that low-to-middle frequencies from sources at a distance, including loudspeakers being used to amplify the voice, are largely rejected by the microphone. This is a real plus in terms of avoiding microphone feedback.
+Directional microphones excel because they emphasize the desired sound—such as a voice or instrument—while naturally reducing sound arriving from other directions. This focused pickup helps maintain clarity and increases the system’s resistance to feedback.
+Most directional microphones also offer a helpful characteristic known as the [[Proximity Effect|proximity effect]]. As the source moves closer to the microphone, low and low‑mid frequencies become fuller and more pronounced. Microphones designed for close‑up vocal use take advantage of this: they deliver a natural tone at close range while reducing low‑to‑mid frequency content from distant sources, including nearby loudspeakers. This selective emphasis further improves feedback performance.
+Omnidirectional microphones, by contrast, maintain a consistent tone regardless of distance. This can be ideal in studio environments where uniformity is the goal. On stage, however, their equal sensitivity in all directions means they capture more ambient sound and offer less natural rejection of low‑to‑mid frequency energy. As a result, they provide less gain‑before‑feedback than directional designs.
-Conversely, an omnidirectional microphone (equal sensitivity to sound coming from any direction) has no proximity effect. This is an advantage often in the studio where the engineer wants consistent tone regardless of distance. But it's a disadvantage on stage in terms of feedback. An omnidirectional mic collects more sound that's not the target, and because it has no proximity effect is more susceptible to feedback at low-to-mid frequencies than a directional mic.
 ====Omnidirectional and Unidirectional Microphones====
 {{:Microphone Polar Pattern}}