The point of an omnidirectional is that it doesn't have proximity effect. You can place it as close to the sound source as you like without inhomogenities in the sound field being a problem. They don't really work for ensembles in rooms with reverbation.JerryPH wrote: ↑Thu Feb 08, 2018 1:40 amYup, saw a similar one about 2 weeks ago, David. I just don't want/need an omnidirectional... I have enough noise to deal with in the limited directions it picks up now. If anything, even a supercardiod might work better for me, or as mentioned the smaller diaphram capsules, as they also excel at that.
A furnace contains low frequencies. Directional microphones will not help much against that. The only thing that works is being close to the sound source. A hypercardioid is worse for general noise than a cardioid since it captures more noise. It is a tool for reducing sound from 135° rather than 180°, at the cost of getting more stuff from the back. That's great, for example, when you are singing and playing the guitar and want each mostly on its own microphone since you cannot really point a microphone close to 0° at your mouth while having the guitar at 180°.
It's also better at suppressing immediate neighbors when close-captioning ensembles.
I'm not saying that having only omnis is going to work well. But ruling them out because of noisy environments imagines directional characteristics to be good for more than they are. Oh, and one can work with mic screens in a pinch to reduce reverbation significantly and achieve some directional characteristics at frequencies low enough that a microophone is just too small to influence.
In my recording you hear the mic cams at the start and they show how noisy the room is at least in reference to reverbation of the speech. I think it should be obvious how effective the close captioning is here even for the omnis.