3.1 Cardioid
Microphones with this polar pattern (switch position: middle, 
) are most sensitive to sound coming from in front of the microphone, and also to a lesser extent from the sides. Sound coming from behind the microphone will be greatly attenuated. This makes the cardioid polar pattern most suitable for recording individual instruments or vocals within a group.
3.2 Figure Eight
Microphones featuring the figure eight polar pattern (switch position: left, 
) are most sensitive to sound coming from either directly in front of or directly behind the microphone. Sound coming from either side or above / below is greatly attenuated. This polar pattern is perfectly suited as a reporter mic for two speakers. This pattern can also allow you to create a natural reverb or delay effect. This is achieved by placing the microphone between the sound source and a wall. The direct sound reaches the „front“ membrane first, the reflected sound reaches the „rear“ membrane a short time later. You can adjust the delay / reverb time by changing the distance from the mic to the wall.
3.3 Omnidirectional
If you use the 
), the microphone is equally susceptible to sound coming from all directions. This polar characteristic is particularly well suited to sessions in which a natural sounding recording is sought, or when several sound sources surround the
4. LOW CUT-FILTER AND SIGNAL LEVEL ATTENUATION
The low cut filter is activated via the left switch located at the front of your 
). Disruptive, low- frequency sounds such as subsonic noise, snapping and wind sounds can be filtered out. When the low cut filter is active, when recording a voice from a close distance, you get an almost entirely linear frequency response.
The switch located on the front right side of your
4. LOW | 3 |
