Hi o3misha, we must agree to disagree.
From my perspective, in the end we are talking about tools to create music - artistic tools. In that sense, it is only right that an artist describe how they feel when using a tool and not be expected to resort to technical explanations. This of course does not invalidate technical explanations at all; merely it is a matter of right-brain thinking and descriptions vs left-brain. The ultimately technically perfect microphone that did not easily elicit emotion and inspire artists while they used it would not be a tool that would be sought after. This is only my opinion.
Klaus never claimed to be a technical expert; only one who uses his ears to make a judgment. He is very vocal about his opinion, but at the end of the day it is just that, his opinion. However, I can certainly see how annoying it can be to a highly technical guy to hear someone wax poetic in descriptions of technical things. I respect your viewpoint.
But here's the rub. This technical tool, this microphone, has one sole purpose: to help musicians make music. As such, in the end, I don't care if the mic is stuffed with swiss cheese; if I sing through it and feel the thrill of "touching the music" as I use it, all the tech data in the world doesn't matter. This is not meant to flame your post; just to make the point that all the technicalities of mic specs don't add up to great instruments alone.
On the other hand, I have spoken many times with another great mic tech, Andreas Grosser (terrific gentleman!!). Before I began my journey to make a U47 clone I consulted with him. He told me to use an alternative tube and layout instead of a VF14M. As you may know, Klaus many times has stated on his forum that unless you have an "original" VF14M, an original transformer, capsule, etc, you cannot create the sound of a U47.
So I said to Andreas, but won't these compromises make my clone sound different than a real U47? His response, paraphrased since it's been awhile: As long as the tube is within operating specs, it will have a similar sound. So here is another kind of entry into greatness, a technical angle, which seems to match yours. I took Andreas' advice by the way.
As long as we get to greatness with our microphones and help artists capture the soul of music, I guess it really doesn't matter how we arrive at that point does it?
I hope I don't sound argumentative; it's not my intention. I respect your thoughts completely.
Mike
