Samson C03 - Manual (Page 5)

Operating the C03
Simply put, proximity effect is the change in frequency response as the microphone posi-
tion is changed relative to the sound source. Any microphone exhibits its best frequency
response when pointed directly at the sound source (on-axis). Depending on the pickup
pattern, the low frequency response will increase, sometimes greatly, when positioned
less than 12 inches away from the sound source (off-axis). Understanding and knowing
how to use the proximity effect can be a tremendous help in getting just sound you looking
for. The following sections details the three available pickup patterns.
Super Cardioid
While Omni and Bi-directional microphones are very
useful for a variety of specialty applications, the
majority of miking situations in recording and live
sound require uni-directional or Cardioid micro-
phones. The C03 condenser’s pickup pattern is
Super-cardioid, which offers even more side-to-side
rejection. The uni-directional nature allows for better
separation of instruments in the studio and more control over feedback in live sound rein-
forcement. To select the Super Cardioid pickup pattern, set the pattern selection switch to
the center, Super Cardioid position indicated by the “heart shaped” icon. When positioned
correctly, the Super-cardioid pickup pattern allows you to pick up more of the sound you
want and less of the sound you don’t want.
Omni
Omni, or omni-directional, microphones pick up
sound from all directions. To select the Omni pickup
pattern, set the C03’s pattern selection switch to the
right, “O” position. You can use the omni pickup pat-
tern if you want to capture the ambient sound and
natural reverb in a room where an instrument or voice
is being recorded. The Omni mode is also great for recording ensemble performances
from groups of vocals, brass, woodwind and other instruments with the artists facing each
other in a circle around the microphone. As an added benefit, the omni pattern is the least
susceptible to the proximity effect. This can be extremely useful when recording artists
who have a tendency to move their instrument, including their voice, around the micro-
phone while performing. In these situations, using a cardioid pattern can result in the fre-
quency response changing tremendously with just a few inches of movement resulting in a
recorded track with the lows moving up and down in volume. Using the omni pick up pat-
tern can help control these tricky miking situations allowing you to capture the best per-
formance without inhibiting the talent by forcing them to try to stay in a fixed position.
Figure 8
Figure 8, or bi-directional, mics pick up the sound
directly in front and back of the microphone while
rejecting the sound on the left and right sides. To
select the Figure-8 pickup pattern set the C03’s pat-
tern selection switch to the left, “8” position. In this
mode it’s almost like having two identical micro-
phones facing back-to-back to each other. This can
be an ideal setting for capturing two artists singing a duet or laying down a background
vocal track. Having the two artists face each other while performing can help capture the
emotions that may other wise be missed if two microphones are used. You can also create
some interesting slap back echo effects by positioning the C03 in Figure-8 pattern
between a recorded instrument and a particular wall in the studio. The rear capsule will
pick up the reflection of the sound off the wall, and by changing the distance of the micro-
phone from the wall you can actually change the delay time of the echo.
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