The basic idea in designing this capsule was to combine the advantages of the cardioid with those of the omni. This results in a pickup pattern which blends the two sets of characteristics in a useful manner. It has fuller and more extended low frequency response than a cardioid, with less proximity effect, while attenuating side and rear incident sound less than a cardioid.
- wide cardioid pattern very well maintained throughout the frequency range
- pleasant sound image, often described as 'warm'
CCM 21 to be only slightly dependent on frequency. This contrasts with omnidirectional microphones, whose directivity increases with rising frequency, and with cardioids (at least smaller ones), which tend to accentuate high frequencies that arrive at oblique angles. The MK 21/ CCM 21's orientation is less critical than with a cardioid, since direct sound arriving on axis and reverberant or other sounds off axis are both reproduced accurately. This lack of coloration in the off-axis pickup produces a 'warm' and natural sound image.
When used as a spot microphone it must be placed somewhat closer to the sound source than a cardioid would be, due to its lower directivity.
Its uniform off-axis response helps to blend nearby instruments seamlessly into the overall mix. For wide pickups where some directivity of the microphone is advantageous, as in acoustically difficult rooms where the bass would be too strong when using omnis, the MK 21/ CCM 21 can be especially helpful.
The low directivity of this microphone type prevents it from generating large enough level differences for X/Y use, though M/S and near-coincident spacings are often successful.
After the cardioid and supercardioid, this is one of the most preferred types among our microphones.