I used to ride motorscooters with the general manager of the biggest A/V house in town, and he's let me borrow, on many occasions, matched pairs of studio mics (at least 12 brands) worth more than my house. I too have taken them to my church and recorded myself doing clarinet special numbers with my big-ol' TEAC@15IPS with DBX. I still can't hear my keys click or my pads slap or my fingers "pop" over the tone holes, which I can assure you, the clarinet player five down from you in a 168 piece symphonic band (yes, there IS such a thing) can clearly hear when the brass is playing FFF. Ya'll match not knows 'bout ol' times Assembly O' God Churches where I's backed by a piano, bass, pedal steel, rhythm gee-tar, 'lectric gee-tar, trap-set, and Hammond B-3 w/Leslie, but I can front that without any re-enforcement by the PA, and be heard OUTSIDE the front doors not of the sanctuary, but of the foyer (45 more feet and another set of doors). This with the lungs of a 95 year-old. Give me a tenor sax and I can blow the doors off the "youth group's" "Jesus Rock" annex over their giga-watts of PA, and I've showed them a couple of times too. No mic I've tried gives the "bite" of my Otto Lincs "wide-open" sax mouthpiece, and it's a "honker". I don't know how much is still equipment and how much is operator trouble, but I haven't thought we've been getting our money's worth in audio media for 40+ years.