Why should we think of "what microphones heard " as a standard


when they are incapable of hearing everything there is to hear ?
Even some Audiogon yellow badges members can possibly hear better.
inna

inna, the Pink Floyd recordings you cite were made long before their London studio was built, and were recorded in other studios.

Where did you get the idea that microphones are the bottleneck in the recording process? Most commercial studios have a whole plethora of mics, different ones preferred for different applications. Each has a response characteristics that makes it more suitable for one instrument than another. Mica are transducers, just like loudspeakers, but in reverse. And just as do loudspeakers, they all sound a little different. Some are known to be highly neutral in timbre, others somewhat colored. Lots of recording engineers like the Shure SM57 as a snare drum mic because of it’s slight presence peak, which makes the drum "pop" more in the mix. No one thinks of that mic as a sound "standard", but there are mics that are.

As onhwy61 mentioned, Doug Sax (Sheffield Labs) tested mics (and other pieces of recording and playback gear) by doing a by-pass test. He would listen to the musician’s in his studio, then move into the control booth to compare the live sound to that coming out of his monitors (custom built horns, by the way). Doug was after maximum transparency and life-like timbre (not all engineers are), evaluating each pieces by how little it changed the sound in ways other than it’s intended purpose.

The reason John Bonham’s drums sound the way they do on Led Zeppelin’s recordings is not because of the mics used to capture their sound, but rather how those mics were employed. Bonham wanted a "big" drum sound, so he played his drums undamped (no muffling used, leading to an open, ringing sound), the opposite of Ringo and Levon Helm (The Band). Then his engineers didn’t use close-micing (putting each mic right up against the drum head), but rather put a number of mics a fair distance away from the drums, with "room" mics placed even further away. That increased the room-to-drum ratio/balance, and required Bonham to create his own balance between the different drums and cymbals---the balance couldn’t be "fixed in the mix". There is much more that can be said on the subject, as it is a large one.

The CD that Tony Minasian put out recently, Drums & Bells, which has  tremendous dynamic range, was recorded with one of his cheaper mics. 
Tony told me it cost under $50. 

It all lies with the engineer and how he records it.

All the best,
Nonoise
By the way, the Shure SM57 is also commonly used to mic snare drums on stage, so ironically any given player's snare drum often sounds very much the same on a recording as it does live.
I didn’t say that microphones were the biggest problem., but that’s the beginning of the recording chain - microphones in the room.
Yeah, I know it about Pink Floyd. Who did those recordings ? They could’ve at least cleaned the record head and used decent cables.
As one who has been concentrating on lowering the noise floor of my system for the past several years, I’m in complete agreement with Ivan_nosnibor’s above post.

Once the noise floor is lowered beyond a certain level, the realism comes out in spades. This is what we’ve been raving about in both the Total Contact and Omega E Mat threads. This is what Ivan_nosnibor touched on in his above post.

I also agree with nonoise’s above post regarding the recording engineers. They can ruin or make a recording sound great. One test that most of us can’t make is a comparison between a commercial release of a recording, and one that has been burned to a CD direct from the master tape with little or no EQ involved. Flat transfers are truly great ... they make human voice and instruments appear real.

I check out most music recommended here on this site and also in the audio magazines using Spotify. Not all, but most, are drenched in artificial digital reverb and sound as though the recordings were not recorded in a studio, but in a cave. There’s a huge difference between an excellent recording engineer who understands this concept ... and other’s who cannot keep their hands off of the dials and levers.

Simplicity is the answer in my opinion.

Frank