smoking joe, that sounds like you have it backwards? Why would you want the rear lobe pointing downward toward the crowd behind you? If you point your mics facing slightly downward, the rear lobe points upward toward the ceiling. Those distant reflections are much more pleasing than the crowd behind you.... The crowd in front of you is going to picked up no matter if you point the mics upward or downward. The front lobe is just too big to limit the folks in front of you, unless you angle them drastically upward, then you are not capturing the music properly. my $0.02
With all due respect, I have to challenge this regularly peddled myth of rear lobe sensitivity in comparison to the main lobe using hypers.
Have been using the AKG 463 hypers extensively for 15 years, and have never had any issues with audible rear lobe pickup in concert recording.
The masking effect is what we are talking about. Even though there is a measurable rear lobe on hypers, the massive proportional difference between the sensitivity of the main front lobe in contrast to the sensitivity of the rear lobe means that sounds picked up by the front lobe will mask anything being heard at the same time by the rear lobe.
I have experimented with this both in live concert settings, as well as in test scenarios in my home listening room. Bottom line, the only time the rear lobe of a hyper can be distictly heard is when there is almost no sound pressure hitting the front lobe on axis, and significant sound pressure only hitting the mic directly at the rear, 180 degrees off axis.
Example you can try yourself. Place a single hyper mounted on a stand with a person standing 2 feet from the front of the mic, on axis, and a second person standing 2 feet from the rear of the mic, exactly 180 degrees off axis. If the person in front started to sing or speak, then stop and allow the person in the rear to sing or speak, immediately you would notice the extreme difference in gain due to the weak sensitivity comparing the front and rear lobes.
But, and here is where the masking comes in, if both people started to talk or sing at the same level, the proportional difference in sensitivity would cause the sound from person in the front to almost totally mask whatever sound is being picked up from the person facing the rear lobe.
This is exactly the same thing that happens in classic auditory masking with most microphones. Say for example when you are taping FOB with a low stand, and even though there is chatter and racket around you that you can hear live at the show, because of the masking effect from far louder sound pressure from the music, you can barely hear these noises that are within the same field of pickup as the music.
As far as the difference in pickup of people around a rig, comparing cards to hypers, I have definately heard this distinction while using each pattern at the same venues, and it's clear that hypers have a wider proportion of music to ambient noise than cards, and even more so compared to omnis. Shotguns are obviously the best at rejecting ambient noise, but you pay a price with coloration and often hollow sounding results.
YMMV