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Author Topic: The Myth of the Accurate Microphone  (Read 304 times)


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The Myth of the Accurate Microphone
« on: June 05, 2017, 12:49:52 pm »

Can we really make a distinction between “colored” and “accurate” microphones? Who decides what mic falls into what category, and on what basis?

Proponents invariably define an “accurate” mic as one that does not add to or take away from, or in any other way alter the musical event: what goes in comes back out, exactly and precisely.

I think the premise that such a microphone currently exists is false. "Accurate" means that no audible or measurable difference could ever be claimed between brands and models, because, by definition, any “accurate” mic you chose would sound exactly like the next, given the same polar pattern. 

The reality looks different. Some like the sound of one mic they believe is 'accurate'. Others like the sound of a different mic, with the same claim of accuracy. But if there is a 'sound' (i.e. color), which one then is accurate?

It’s frustrating to read discussions of the term 'accurate' in forum posts, because quasi-scientific arguments are used to prove something that, in my opinion, is not currently provable, given the available (and rather primitive) parameters available to quantify data related to sound.

End (or start) of discussion...
Klaus Heyne
German Masterworks

Jim Williams

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Re: The Myth of the Accurate Microphone
« Reply #1 on: June 06, 2017, 11:37:40 am »

Until a microphone can duplicate the locational sensing of the human ear none of them are even remotely accurate. A person with only one working ear can point and determine a sound's location easily in a 360 degree field.

At this point of microphone design we are at the same point as the romantic painters were in the 17th century before the advent of modern photography. Yes, those paintings are very emotionally pleasing to look at but are not in any sense accurate.


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Re: The Myth of the Accurate Microphone
« Reply #2 on: June 13, 2017, 11:34:50 am »

Even if you isolate one variable-- say "frequency response"-- invariably, other variables creep in.

One microphone might be "perfectly flat" in an anechoic chamber directly on-axis at a distance of 1m, but what happens when you're 90 degrees off-axis? What happens when you're 10 cm away, or 20m away?
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