Recording music and sounds heavily rely on microphones, each with its unique function. Despite the continuous advancements in microphone technology, some models from the mid-20th century remain relevant and are still in use today. Microphones are, therefore, often valued very differently than other musical recording equipment. Over the years, music recording has gone from an exclusive activity to something ordinary people can do. In the past, advanced equipment was required, and it was often costly to make recordings. Today, virtually anyone with a computer or mobile phone can make a decent sound-quality recording. In addition, the software available for music recording means that older, previously expensive equipment is available in digital formats, and such plug-ins have become very widespread. In higher education, many students study music recording, including music production. However, it can be difficult for students to distinguish between different technical equipment, especially microphones. Our research project aims to clarify the differences and similarities among various microphone types, which will help students in higher music education, or anyone seeking guidance, to select the appropriate microphone for their needs. Music recording and production is a popular study area for many higher-education students. However, it can be challenging for students to differentiate between various technical equipment, particularly microphones. Therefore, it is essential to have precise information in this domain. Our research project focuses on elucidating the distinctions and similarities among different types of microphones. This knowledge will benefit students pursuing higher education in music or anyone seeking guidance on selecting the most suitable microphone for their requirements. In a previous study, a group of students evaluated dynamic microphones, considering cost and suitability. To eliminate any potential bias, all microphones were covered with black PVC electrical insulation tape and had coloured acoustic-foam microphone windscreens. The survey included five handheld microphones ranging from €25 to €400 in price. During testing, students were given a portable SQN mixer and a pair of Sony headphones to test the microphones. Surprisingly, the results showed that the students could not distinguish between low-budget and expensive microphones. Although some students could describe differences between the microphones, they could not differentiate between them since all the microphones were deemed suitable for most purposes. In another previous study, the quality of vocal recordings was tested using different microphones, including Neumann and AKG microphones, as well as an Apple computer's built-in microphone. Participants in the study included students, teachers, and audio engineers who listened to the recordings with and without background music in a mix and with software processing. The findings were enlightening, indicating that most participants had difficulty distinguishing between microphones when the recordings were processed with software and mixed with background music. Although a handful of listeners could correctly identify the microphones in unprocessed recordings, many participants made mistakes during the test. They were surprised by the actual microphone used for each recording. The study also found no notable difference in results between male and female voices. We are currently conducting a study measuring various types of microphones in a studio. We are playing music through speakers with microphones in different positions in front of the speakers. We are comparing the differences and similarities in the recorded sound when different microphones are used. The study includes analysing the dynamic, frequency, and directional responses. We have only tested microphones from the Shure manufacturer so far. In the coming months, we will test microphones from most other available manufacturers on the market under similar conditions, and also test some historically interesting microphones. This project is a part of the research project Searching for Sophia in Music Production and Music Production Education. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarise the theoretical framework of the project.