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

My learning journey started by listening via Stax cans to microphone feeds before and after tape on the high speed Revox ..... and comparing that to what I hear in the acoustical space of the performance....

i will say from a physics point point of view transducers tend to have the highest distortion... converting one kind of energy into another is difficult

there are some fantastic new ribbon and other microphones out or in development, some just as colored ( intentional) as the big $$$ rare vintage gear

Royer comes to mind....

cool thread

My next project will use an Ambisonic microphone array ( vintage if I can find it )....

check out Cowboy Junkies - Trinity Sessions for a taste...

dig your inputs Eric
my experiments are two microphone only, so my commercial drum sound sucks!!! Ha

Good posts, everyone.

tomic601, I have made live recordings of my own bands, using a pair of small diaphragm condenser mics straight into the two channels of a Revox A77. I used the same mics into a simple Sony mixer and then into a Teac 3340 4-track to make studio recordings. No EQ, no compression, no electronic reverb or echo, no nuthin’. Those tapes sound more natural (life-like timbres of both instruments---drumset, electric bass and guitar, acoustic piano and guitar, sax---and vocals, the recording itself more transparent) than 99.99% of my Pop (non-Classical. Classical recordings is a completely different matter) LP’s and CD’s, and I have used them to evaluate loudspeakers for years. I monitored on my Stax Lambda Pro ESL Earspeakers.

And that's not even pro tape decks and no high end microphones, I suppose. It says a lot about how bad most commercial recordings are.