Omni plus Fig. 8 at 0° to create an arbitrary type of cardioid. Mono.
This works better when a wide cardioid is used instead of an omni, as an omni polar pattern is highly frequency dependent.

XY-Stereo. Adjusting the levels of the summed signal and the subtracted signal allows to change the stereo width in post-proc.

Blumlein-Stereo (special form of XY). Adjusting the levels of the summed signal and the subtracted signal allows to change the stereo width in post-proc.

MS-Stereo: Cardioid plus Fig. 8 at -90°, resulting in XY-Stereo, where angle and cardioid type of the resulting virtual mics are not independent.

MS-Stereo: Omni plus Fig. 8 at -90°, resulting in XY-Stereo, where the angle of the virtual mics is always ±90°, cardioid type is adjustable.

Double-MS, also for Surround: Fig. 8 plus 2 cardioids, one directed backwards (180°) for MS-stereo with independent cardioid type and angle; surround with any number of virtual mics of any angle and cardioid type. Also Blumlein can be emulated.

Double-MS plus omni: like before, supplemented by an omni for better capture of low frequencies. The back-facing cardioid is theoratically not necessary as the omni-mic picks up the sound coming from behind as well. However, high frequencies from the back are usually attenuated by omnis. The back-facing cardioid is helping here.

MMS: Mid-Side with two Mid-Microphones: an omni and a figure of eight. Simple MS has the disadvantage that the resulting patterns and the powersum are dependent from the gain relation between the microphones. Here this is no longer the case and it is possible to create intensity stereo of almost any recording angle with any resulting pattern (also Blumlein) or for instance an equal power sum.

MXY: XY plus Omni. Like MMS the stereo width can be adjusted independently from the power distribution in the stereo image. It avoids Fig. 8's, which are usually more expensive and have less low end. This example uses Supercardioids with an angle of 50°. Appropriately mixed you can virtually get a Blumlein setup.

Stereo-Setup with spaced omnis. Two additional Fig.8's allow to introduce an arbitrary amount of intensity stereophony, which also widens the stereo image.

Like before, but with the Figure 8's turned 45°. Allows to adjust the intensity stereophony, different behavior in the frequency dependence of the stereo image and different shape of the power sum graph (with a stronger center).

Like before, using Wide Cardioids instead. Power Sum graph less frequency dependent.

Spaced MS, also for Surround: Two MS-Setups turned by 90° outwards, resulting in an adjustable surround with time-of-arrival and intensity stereo image between L and R. Each MS-Setup is providing a virtual Mic towards the front and back. The more the virtual mics are pointing to the front/the back, the more they are turning into supercardioids.

Like before, using super-cardioids, supplemented with omnis. This allows to adjust the pattern of the resulting mics independently from their angle. Moreover the omnis can be high-cut mixed in to provide better bass. The recording angle can be freely set while still keeping a very good front-back-separation.

„Flex-ORTF“; adjustable intensity stereo by using super cardioids and wide cardioids.

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Calculator for Stereo Imaging and Coincident Polar Patterns

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Examples for setups that are not adjustable in post-proc

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