Microphone polar pattern with equal front and rear sensitivity and 20-25 dB side rejection, visualized as a horizontal figure-8 shape.
Technical Details
The polar pattern exhibits a rejection of at least 20-25 dB at the null points, while the front and rear possess identical sensitivity, typically ranging from -52 to -57 dBV/Pa. The bandwidth spans from 30 Hz to 15 kHz, with modern ribbon microphones reaching up to 18 kHz. The frequency response shows characteristic boosts in the 8-12 kHz range (presence area) and gentle rolloffs at the extremes. Classic models like the Coles 4038 achieve a maximum SPL of 125 dB SPL, while newer designs can handle up to 135 dB SPL.
History & Development
Walter Schottky developed the first ribbon microphone at Siemens in 1924, with commercial production beginning in 1928. RCA established the industry standard for broadcast and film in 1931 with the 44A. The legendary Neumann CMV3 (1928) and later the STC 4021 (1954, now Coles 4038) shaped the Hollywood sound from the 1940s to the 1970s. After a decline in the 1980s, ribbon microphones experienced a renaissance starting in 2000 through manufacturers like Royer Labs and AEA, with modern phantom power-compatible designs.
Practical Use in Film
Ribbon microphones with a figure-8 polar pattern are primarily used for film score recordings where natural room acoustics are to be captured. When recording strings, they are positioned 1.5-3 meters in front of the ensemble to blend direct sound and room reverb. The characteristic "warm" sound is achieved through gentle high-frequency attenuation and natural saturation. In dialogue scenes, their side rejection is utilized to isolate ambient noise. Francis Ford Coppola used Coles 4038s for helicopter sequences in "Apocalypse Now" (1979) to enhance spatial depth.
Comparison & Alternatives
Compared to condenser microphones with cardioid patterns, figure-8 microphones offer more natural spatial imaging but less forward directivity. Modern alternatives include switchable large-diaphragm microphones (Neumann U87, AKG C414) that can switch between cardioid, figure-8, and omnidirectional patterns. Digital microphone systems like the Zylia ZM-1 simulate figure-8 characteristics through processing. For stereo recording, the classic XY technique competes with the MS technique, which uses a figure-8 microphone for the side signal.