Rock bands produce high SPLs when heard live. But recordings of these bands are reproduced at much lower SPLs. Consequently, the reproduction may sound weak in the bass and treble compared to the live band. Some microphones compensate for this loss: they boost the lows with proximity effect (and nearfield placement) and boost the highs with a `presence peak.` These microphones are often chosen as being the `best sounding` for recording loud instruments. The author suggests a new specification that quantifies this compensation.
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