I think there’s a lot to be gained from videos like this, maybe helping to simplify things for those that don’t know much about the internal workings of a microphone - it also demonstrates that there are huge differences in sound from different mics and the attempt to nail down what causes those differences is more what the vid appears to be about. I found it very entertaining.
Using a 57 as a benchmark, being the probably most common instrument mic out there, is a cute way of seeing and hearing those differences without using or having any reference flat line response.
The thing is also that each manufacturer of mics has their own method and test facilities for giving their mics a response curve and polar response diagram so “flat” from Sennheiser may well be different to AKG, Neumann etc. so for someone without access to those facilities it’s a novel way of comparing mics.
I’ve found that bypassing the specs sheets and the “suggested by the manufacturer target field of use” and listening to different mics in place - experimenting with distance, surrounding acoustic environment and mic approach angles can then give an answer to whether or not a certain mic is useful for that instrument in that place with that player (or vocalist, drum/drummer etc.). And then there’s the choice of pre-amp……
The results are often surprising in either a good (or a bad) way, but hands on experience with mics and pre-amps certainly helps shortcut the whole process, which if a client is paying for the time in a studio they are not going to want to pay for experimentation - not unless they can’t get the right sound.
Two different players on the same acoustic guitar won’t necessarily need the same mics.
I recently went through the process of trying lots of different mics for choosing good room and overhead mics for drums for a specific live room, one to be permanently placed wall mounted (not so often used), the other with a floor position, both at different distances from the in-house kit. Then we did the same for overheads. We settled on a Reslo RB for the floor mic and found a sweet spot distance and height wise and just put a tape X on the floor and it has its permanent height fixed stand - that mic coupled with a pair of Coles 4038’s as overheads give a pretty amazing drum sound - since then in subsequent mixes, the individual drum mics get brought up to the overheads instead of the other way around as was the norm here and the room mic gets brought up at the end for room sound. Prior to that we had been using C451’s or 414’s pretty well all the time as overheads and not having the overheads so present in the drum mix, for the tests we tried a lot of different mics in different configurations and spacings. The results were not quite what we expected.
After all we don’t listen to signal generators in anechoic chambers for entertainment.