In the first of this two-part series, David Mellor gives us an introduction to mic polar patterns, explaining the best type of mic to use for various recording situations.Chapters00:00 - Introduction00:43 - Influenced By The EMI Emiguide Tapes04:08 - What Is A Polar Pattern?06:46 - Omnidirectional and Figure Of 808:43 - Cardioid, Hypercardioid and Super-Cardioid11:14 - Pressure-Sensitive and Pressure Gradient11:58 - Imperfections In Higher And Lower Frequencies13:01 - The Decca Tree14:06 - Abbey Road Demonstration15:32 - 0 degree axis Figure Of 816:10 - 90 degree axis Figure Of 816:48 - 180 degree axis Figure Of 817:30 - 270 degree axis Figure Of 819:01 - Multi-Pattern Microphones19:58 - Best Usage24:26 - Interference Tube, Parabolic Reflector26:23 - Experimenting With Off-AxisDavid Mellor BiogDavid Mellor got his start in pro audio through the Tonmeister course at Surrey University studying music, piano performance, acoustics, electronics, electro-acoustics and recording.He went on to work at London's Royal Opera House, with responsibilities including sound design, front-of-house operation, stage monitoring and electronic design satisfying the likes of Luciano Pavarotti, Placido Domingo, Dame Kiri Te Kanawa and Karlheinz Stockhausen. He has also had over 600 works published in the field of production music, including the Chappell and Carlin music libraries (now combined into Universal Publishing Production Music). Notable uses of his music include the BBC's Horizon, Fahrenheit 911, and the Oprah Winfrey Show.David has been actively involved in Audio Education since 1986, teaching students of City of Westminster College and Westminster University, and also returning to lecture at Surrey University. He also worked with John Cage on the International Dance Course at the University of Surrey. David now specialises in online audio education and has been Course Director of Audio Masterclass since 2001.<a href="https://www.audiomasterclass.com/">https://www.audiomasterclass.com/</a>

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David Mellor - Mic Polar Patterns Part 1

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