The thing is, in these huge mixing boards, the signal may go through ten or twenty op-amps, which can invert or not, and I don't know if there's any standard for this in the construction of the boards, so the engineer is sort of stuck; how's he to know?  It might only be the little purist recordist who uses practically no electronics (and those made by him) between the mike and the tape who can control this.

I think it makes a difference, which is why I mention it.  It seems to show up most in transients, like drum whacks, which sound more natural if they're in correct absolute polarity.

Poinz