Some of euroelectron's mistakes

There are many but here is one. It was thought in the early days of euroelectron that mic should be next to mouth. Far from truth, 12in or more as seen on classic Columbia 30th street church studios photographed sessions gives an amazing vocal sound. Archtect and sound engineer Hatznicolaou adviced to mic the nose, not the mouth. Rescent Pleiades experiments as written on euroelectron are done with mic at 16in, above head at 45 degrees from head, micing the head, not just mouth or nose. Head vibrates too and emmits sound. So many values of inductance for microphone filter to compensate for the bass boost proximity effect can be erroneous. But they are still very much perhaps needed but the inductance must be higher since the bass boost starts at a lower frequency when a high mic to source distance is used. See for example the rescent post on SM58 using a 175mH to 175mh signal transformer at the output of the microphone. See also other posts made in the more rescent years for better values of inductance including the Pleiades gentle slope high pass filter made with 130 ohms in series with only 20mH and the total in parallel in microphone's output. Here the turnover point is high in frequency to create the sparkle that is so much liked in produced vocals but the series resistor reduces the slope so that the vocal sounds correct with correct body. The point to remeber is that it is not only proximity effect that needs to be compensated. There must be flat frequency response not only from mic to loudspeaker but from the whole chain, from vocal chords of singer to listener's brain. And if we take it further from producer's brain to listener's brain. See references, bibliography on past euroelectron posts.