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

For those following along

water Lilly WLA-WS-13
trumpet and organ
just read the groove and know it is gooooooooooooood

sponsored by Conrad Johnson

Eric and Inna..... truth...
i grew up with a dokorder 4 track and a microphone/ line level mixer ... rock/punk/rockabilly stuff... so when I built the mobile rack at retirement I was convinced I needed a mixer - budgeted an absurd # for a compact Neve console.... lucky I know somebody to borrow from first... ALL downhill on the simple 2 microphone stuff....

btw about to cue up a nice Waterlilly  in a minute....

btw the A-77 is a killer portable RtR, carry handle built in !!!!!!

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

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