Reversing absolute phase

At the very least, the initial attack of a kick drum from a kit should move the cone forward toward the listener. This is the way it is in the real world. This is not as easy to determine with other instruments that have more complex timbres. Also, microphones may or may not be transducing to an electrical signal in absolute polarity at all times. Ribbons work differently than dynamic configurations. Also, added ambience will often not be monitored in mono prior to mixdown in order to minimize phase cancellations and this too may negate any absolute polarity advantages.

Small studio live jazz recordings without much processing are the best way to reveal polarity issues. BUt that kick drum had better cause the cone to move forward toward me when I hear it and not away.

...and that's only if the kick was close miced, which it usually is.

well, the standard for wiring was pin 3 hot for a long time in europe and it was pin 2 hot in the US later. Now it is generally pin 2 hot. Studios tend to, and should pay attention to this meaning that the polarity should be correct from the microphone into the mic pre into the tape machine. After that you are talking about phase relationships which are far more complicated.

Stevecham, I appreciate your point; however where the mic for the drum is placed may be a confounding issue. Just a thought.