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A bidirectional microphone picks up sound from the front and the rear and strongly rejects sound arriving from the two sides. That pattern suits two people facing each other across one microphone, Mid-Side and Blumlein stereo pairs, and some instruments and rooms. It is a poor choice when the noise you want to avoid sits directly behind the capsule.
What a bidirectional microphone is
A bidirectional microphone is also called a figure-eight microphone, because its polar response, drawn as a plot of sensitivity around the microphone, has two main lobes shaped like an 8 on its side. The front lobe and the rear lobe are both active. The sides sit in the nulls, where sensitivity drops sharply.
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In an ideal figure-eight, sound arriving at the sides cancels out. Real microphones do not behave ideally. Off-axis response and side rejection depend on the design of the microphone and on frequency, so rejection is strong but not total. Plan your setup around reduced side pickup, not silence from the sides.
How the pattern is produced
Many ribbon microphones have this pattern naturally. A ribbon is exposed to sound pressure on both of its faces. Royer Labs explains that sound reaching the rear of the ribbon is electrically out of phase with sound reaching the front, while sound from the sides reaches both faces equally and cancels at the null. The result is front-and-rear pickup with side rejection built into the transducer.
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- Four pickup patterns: Flexible cardioid, omni, bidirectional, and stereo pickup patterns allow you to record in ways that would normally require multiple mics, for vocals, instruments and podcasts
- Onboard audio controls: Headphone volume, pattern selection, instant mute, and mic gain put you in charge of every level of the audio recording and streaming process
- Positionable design: Pivot the mic in relation to the sound source to optimize your sound quality thanks to the adjustable desktop stand and track your voice in real time with no-latency monitoring
Figure-eight is not limited to ribbon designs. Some multipattern condenser microphones offer a selectable figure-eight mode alongside other patterns. Sennheiser’s MK 8 is one example, covered in the product section below.
Five things to remember before you record
- Bidirectional does not mean omnidirectional. It means useful pickup from the front and rear, with rejection at the sides, not pickup in every direction.
- The rear lobe is active. Noise behind the microphone will reach the recording. Unlike a cardioid, it does not reject rear sound.
- Proximity effect is strong. Bass response rises as the source moves closer. Neumann notes that this can add warmth but can also build up unwanted bass and reduce intelligibility.
- Figure-eight is a standard stereo tool. It is the Side element in Mid-Side recording and one half of a Blumlein pair.
- Transducer and pattern flexibility differ. A ribbon design and a multipattern condenser with a figure-eight mode behave in similar ways at the pattern level but differ in construction, power needs, and how many patterns you can choose from.
Bidirectional versus cardioid
Most buyers compare a figure-eight with a cardioid, because the two patterns reject opposite directions. The table below assumes ideal pattern behavior; real microphones vary.
| Feature | Bidirectional (figure-eight) | Cardioid |
|---|---|---|
| Front pickup | Active | Primary pickup direction |
| Rear pickup | Active, not rejected | Rejected at the rear null |
| Side sound | Strongly rejected at the nulls | Reduced compared with the front, not rejected at the same depth |
| Typical fit | Face-to-face interview, Mid-Side Side channel, Blumlein pair | Single source with unwanted sound behind the microphone |
Where a figure-eight helps
Face-to-face interviews
A figure-eight can capture two speakers sitting on opposite sides of one microphone. RØDE’s K2 manual names this use directly and describes the pattern in its own words:
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“When in the Figure 8 position (fully clockwise), the microphone picks up sound from in front and behind, and rejects sound from the other two sides.” (RØDE K2 Product Manual)
The setup works when both speakers sit at matched distances from the capsule and their voices reach the front and rear lobes at similar levels. Speakers who lean in or drift off-axis will change their balance, so keep their positions consistent throughout the session.
Mid-Side stereo
In Mid-Side recording, a forward-facing Mid microphone captures the center of the stage and a sideways-facing figure-eight Side microphone captures width. The two signals are combined afterward to produce a stereo image. The technique is useful because the Mid signal is directional and the Side signal is bidirectional, so both can be recorded with a single pair of microphone positions. Check that your interface or recorder has the channels needed for two microphones and that the decoding tool or plug-in matches your channel layout. Follow the manufacturer’s orientation instructions for the specific microphones you use.
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- Four pickup patterns: Flexible cardioid, omni, bidirectional, and stereo pickup patterns allow you to record in ways that would normally require multiple mics, for vocals, instruments and podcasts
- Onboard audio controls: Headphone volume, pattern selection, instant mute, and mic gain put you in charge of every level of the audio recording and streaming process
- Positionable design: Pivot the mic in relation to the sound source to optimize your sound quality thanks to the adjustable desktop stand and track your voice in real time with no-latency monitoring
Blumlein stereo
A Blumlein pair uses two figure-eight microphones arranged at right angles to one another. beyerdynamic describes using two M 130 microphones this way for room ambience. Stereo image and ambience depend strongly on the room and on exact placement, so expect to adjust the position by ear rather than rely on a single measurement.
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beyerdynamic lists drums, guitar amplifiers, pianos, acoustic guitars, orchestras, choirs, and room ambience as possible applications for the M 130, depending on positioning and the space. These are the manufacturer’s suggestions for that model, not a guarantee that any figure-eight microphone will suit every one of these sources.
Placement and the tradeoffs you will hear
Aim the front and rear lobes at the sources you want, and place the side nulls toward sound you want to reject. Rejection depends on the microphone and frequency, and reflections from nearby surfaces can change the result, so treat the nulls as a useful tool rather than a shield.
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Because the rear is active, do not place a figure-eight the way you would place a cardioid with its null aimed at a noisy source. If the unwanted sound is behind the microphone, rotate the setup, move the source, or choose a different pattern. This follows from the documented front and rear sensitivity and side rejection rather than from a tested comparison.
Proximity effect shapes the sound more than most beginners expect. Bringing the source closer raises low-frequency response, which can add warmth. Too much of it makes speech muddy. Adjust distance first, then use filtering or equalization if needed.
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- Voice sounds boomy or thick. Cause: proximity effect at close range. Fix: move back a few inches, then apply a low-cut filter or gentle equalization.
- Hum, chatter, or footsteps appear in the recording. Cause: the rear lobe is picking up a noise source. Fix: rotate the microphone, move the source, or switch to a pattern that rejects the rear.
- One speaker is much louder than the other. Cause: unequal distances from the capsule. Fix: match both speakers’ positions and recheck levels before recording.
- Recording sounds washy or cluttered. Cause: side and rear reflections from hard surfaces. Fix: move the microphone closer to the sources, or treat the reflecting surfaces.
- No signal from a condenser figure-eight. Cause: phantom power is off or insufficient. Fix: enable phantom power on the preamp or interface and confirm the power requirement in the manual.
Choosing a figure-eight microphone
Compare candidates on five axes:
- Transducer and pattern implementation: a naturally bidirectional ribbon design versus a multipattern microphone with a switchable figure-eight mode.
- Pattern flexibility: a dedicated figure-eight versus a microphone that also offers cardioid, supercardioid, or omnidirectional patterns.
- Recording application: shared interview, Mid-Side, Blumlein, instrument, or ambience work.
- Setup compatibility: power, connector, preamp, and channel requirements in the manual for the exact model.
- Placement and room: rear sensitivity, side rejection, source movement, reflections, and proximity effect.
Three sourced product examples
The examples below illustrate the category. They are not a ranking, and the figures come from manufacturer documentation rather than independent testing. Prices, stock, and current availability are not covered here, so check with retailers before buying.
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- Omnidirectional Microphone - It is not a Speaker or Speakerphone, it is a condenser microphone. The microphone has an omnidirectional pickup pattern with a pickup distance of 11.5 ft, making it easy to capture the most subtle sounds from 360° directions and transmit the sound more loud and clear. Participants can hear each other without raising their voices.
- Made for Conferences - This microphone is perfect for small or medium meetings over an internet network by using Skype/GoToMeeting/WebEx/Hangouts/Fuze/VoIP/Zoom and other softwares. You can also use it for court reports, seminars, remote training, business negotiations, video chats, etc.
- Plug & Play, No Drivers Required - The microphone is compatible with all operating systems - both Windows and macOS. You just need to plug the microphone to start recording. If there is no response after inserting the mic, please go to the microphone setting of your computer and select the mic as the INPUT device.
- Convenient Mute Button - Quickly mute/unmute your microphone. The built-in blue indicator light for checking whether the USB microphone is working.
- Well Designed Cable - The microphone is constructed of sturdy and metal material and the base is fitted with an anti-slip mat which keeps it stable on desktop during use. It is small, convenient and does not require much space when in use. Connected with a 1.8m nylon shielded wire, it effectively eliminates signal interferences to achieve the best recording results.
| Model | Design and pattern | Frequency response | Other specified values | Source and date |
|---|---|---|---|---|
| beyerdynamic M 130 | Double-ribbon microphone with a figure-eight pattern | 40–18,000 Hz | Not stated | Manufacturer product page, accessed 2026 |
| Sennheiser MK 8 | Multipattern condenser with five switchable patterns: omni, wide cardioid, cardioid, supercardioid, and figure-eight | 20–20,000 Hz | 142 dB SPL maximum at 0 dB attenuation; 10 dB(A) equivalent noise level; 48 V phantom powering | Manufacturer specification version 2.2, February 2026 |
| RØDE K2 | Selectable pattern; figure-eight is set by turning the control fully clockwise | Not stated | Not stated | Manufacturer product manual; the manual is older, so confirm the model is current and the manual matches your unit |
The MK 8’s 48 V phantom requirement applies to that microphone only. Confirm the requirement for any other model in its own documentation.
Setup checklist before you buy
- Identify the job: interview, Mid-Side, Blumlein, instrument, or room ambience.
- Check the pattern you need. If you need a single figure-eight for a shared interview, a dedicated design or a multipattern microphone with a figure-eight mode will both work.
- Confirm power: phantom power for condenser designs, and the stated power requirement for any other type.
- Confirm connector and preamp compatibility with your interface or recorder.
- Count channels: a Mid-Side or Blumlein pair needs two inputs and a matching decoding or mixing path.
- Read the manufacturer’s manual for the exact model and version, especially for older products.
Once the microphone is on hand, record a short test with each speaker or source in its planned position. Listen for rear noise, uneven levels between speakers, and bass buildup. Adjust position before adjusting EQ.
The Bottom Line
A figure-eight microphone is the right tool when the sound you want comes from the front and the rear and the sides are the problem, which covers shared interviews and stereo pairs. When the noise you need to avoid sits behind the microphone, a different pattern is usually the better choice.
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