Differences Between Cardioid And Supercardioid Mics For Live Sound

Understanding the differences between supercardioid and cardioid microphones is essential for guiding vocalists towards the best choice for their live sound needs. Here's a comparison of the two patterns:

Similarities:

• Both cardioid and supercardioid microphones are unidirectional, meaning they are most sensitive to sound coming from the front (0°).

• Both patterns are designed to reject sound from the sides and rear, helping to isolate the intended sound source.

• Both cardioid and supercardioid mics are subject to the proximity effect, an increase in bass response when the sound source is close to the microphone.

• Compared to omnidirectional microphones, both offer better rejection of ambient noise and increased gain before feedback in many situations.

Key Differences:

• Pickup Pattern:
  

  • Cardioid: Has a wider on-axis pickup area and maximum rejection at the direct rear (180°). The pickup pattern is generally heart-shaped. In this context, "on-axis" refers to the direction directly in front of the microphone (0°), where it captures sound most clearly and accurately. A wider on-axis pickup area means the microphone effectively picks up sound from a broader angle in front of it, rather than just a narrow, focused point.

  • Supercardioid: Has a narrower on-axis pickup are compared to cardioid (around 115° vs. cardioid's wider angle). It also has some pickup from the rear lobe (around 180°), unlike the cardioid's maximum rejection at that point.

• Rear Rejection:
  

  • Cardioid: This pattern provides maximum rejection of sound from directly behind the microphone (180°), typically around -20 dB. Rear rejection refers to how much the microphone reduces sound pickup from behind. In this case, with -20 dB rejection, sounds from the rear will be 20 decibels quieter than those coming from the front (0°).

  • Supercardioid: Has its greatest rejection at the rear sides (around 120° off-axis), not directly at 180°. While it rejects sound from the sides more than a cardioid, it is more sensitive to sound coming directly from behind (180°) compared to a cardioid. The rear rejection (attenuation) for a supercardioid is typically around -12dB.

• Side Rejection:
  

  • Cardioid: Offers good rejection to the sides (90°).

  • Supercardioid: Provides greater rejection of ambient sound from the sides compared to cardioid. The hypercardioid (even narrower than supercardioid) is more than 3dB less sensitive to sounds from the side (90 degrees) than the supercardioid.

• Gain Before Feedback:
  

  • Cardioid: Offers high gain before feedback when stage monitors are placed directly behind the microphone due to its maximum rejection at 180°.

  • Supercardioid: Can offer very high gain before feedback in live situations due to its tighter front pattern and greater side rejection. However, monitor placement becomes more critical. Monitors should be placed to the sides, aiming towards the microphone's points of least sensitivity (around 125° off-axis, aka wedge monitors or stage wedges), to avoid the rear lobe picking up the monitor sound.

• Proximity Effect:
  

  • Supercardioid microphones typically have a slightly stronger proximity effect than cardioid ones. This happens because supercardioid mics have a tighter polar pattern, which relies more on pressure gradient principles—leading to greater bass buildup at close distances compared to cardioid mics. This characteristic can be useful for adding warmth to vocals but may require careful mic technique to avoid excessive low-frequency emphasis.

• Off-Axis Sound:
  

  • Due to the tighter pattern of a supercardioid, off-axis sounds will be rejected more significantly compared to a cardioid. However, sounds picked up by the rear lobe will have a different sonic characteristic.

When to use which pattern as a vocalist:

• Cardioid is recommended to vocalists who:
  

  • Need a versatile microphone for various live sound applications.

  • Are in situations where stage monitors are typically placed directly behind the performer.

  • Prioritize strong rejection directly at the rear of the microphone.

  • Are less experienced with microphone placement and feedback management, as the wider pickup pattern and rear rejection are more forgiving.

  • Are recording or amplifying sources where a slightly wider pickup is beneficial, like a single instrument with some movement.

  • Are less experienced with maintaining the proper distance between their lips and the microphone.

• Supercardioid is recommended to vocalists who:
  

  • Perform on loud stages where maximum isolation from other instruments and stage noise is crucial.

  • Require very high gain before feedback and are willing to carefully position stage monitors to the sides, avoiding the rear lobe.

  • Need a more focused pickup on a specific sound source, minimizing spill from adjacent sources.

  • Understand the potential for increased proximity effect and off-axis coloration and are prepared to manage these characteristics.

  • Are in situations where ambient noise from the sides is a significant concern.

  • Are more experienced with the proper distance between their lips and the microphone and can maintain that consistently.

Important Points:

• Cardioid is the most commonly used polar pattern and a safe choice for many applications.

• Supercardioid offers more directionality and better side rejection for challenging live sound environments.

• Proper microphone and monitor placement for both patterns to maximize performance and minimize feedback.

• Multi-pattern microphones, are versatile and allow users to switch between cardioid and supercardioid (and other patterns) to experiment and find the best setting for their specific situation.  Check out the:  Shure KSM9 & Sennheiser E965.

By clearly understanding these differences and their practical implications in a live sound context, vocalists can make informed decisions and choose the microphone that will best meet their needs for clear and feedback-free audio in their PA setups.