Mango made a good suggestion--turn down your speakers.
Not sure this will be valuable to anyone, however, I did this a while ago, and I find that when I listen to each sample, I find I get a much faster and better "mic to source match"
What I did was to play white noise through a fairly flat monitor [ and then close mic'ed the monitor. If you listen to the white noise, and then the mic recorded white noise, you
This has the downside that it is not a normal signal, say a singer. The benefit is that it is a true apples to apples comparison. I wind up using it all the time, since the white noise gives me a baseline, and then the mic'ed white noise gives my ears a good feel for the character of the mic, without any other distraction [for example a shrill voice may make you think a mic is shrill].
Mics used:
IK Instrumentation Mic [Omni]
Neumann TLM-103
SM57
Shure Beta57
Rode NT1-A
Royer 121 ribbon mic [front]
Royer 121 ribbon mic [Rear]
Rode K2 in Omni
Rode K2 in Cardiod
Rode K2 in Omni
The file labeled "00" is the original white noise file.
The Royer is a figure 8 pattern, but it is not uniform, the rear being somewhat brighter.
Anyway, it is interesting. I could add more of my mics if people find this helpful.
I like this shootout. I like it because it is entirely objective. It's completely taken any hint of "magic" out of the equation. A Nuemann is not magic. It has been reduced to "hiiissssss".
Is anyone else getting the answers to the Great River / 610 / 828m3 shootout? Weird!!!!
What surprised me about this one, and why I thought it might be interesting is how much you can get out of a plain white test. You can really hear the "meat" of the 121 for example.