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The result is a realistic stereo field that has reasonable compatibility with mono playback. Since the cardioid polar pattern rejects off-axis sound, less of the ambient room characteristics are picked up. This means the mics can be placed further away from the sound sources, resulting in a blend that may be more appealing.
The front array is designed for minimum crosstalk, with the front left and right microphones having supercardioid polar patterns and angled at 90 degrees relative to the center microphone. [ 24 ] [ 25 ] It is important that high-quality small diaphragm microphones are used for the L and R channels to reduce off-axis coloration. [ 26 ]
Mid/side coincident technique employs a bidirectional microphone (with a figure of 8 polar pattern) facing sideways and a cardioid (generally a variety of cardioid, although Alan Blumlein described the usage of an omnidirectional transducer in his original patent) facing the sound source.
The resolution can be increased and the sweet spot enlarged by adding groups of more selective directional components to the B-format. These no longer correspond to conventional microphone polar patterns, but rather look like clover leaves. The resulting signal set is then called Second-, Third-, or collectively, Higher-order Ambisonics.
The pickup patterns of the pair, combined with their positioning, delivers a high degree of stereo separation in the source signal, as well as the room ambiance. The Blumlein pair produces an exceptionally realistic stereo image, but the quality of recordings is highly dependent on the acoustics of the room and the size of the sound source.
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The reference point (analogous to the origin of a Cartesian coordinate system) is called the pole, and the ray from the pole in the reference direction is the polar axis. The distance from the pole is called the radial coordinate, radial distance or simply radius, and the angle is called the angular coordinate, polar angle, or azimuth. [1]
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