Uh, hi--I'm here. I don't recall posting any such remark on GearSlutz, where I only visit about once a year, and I don't identify at all with the quote. It sounds a little more like something I might say about using shotgun microphones for stereo music recording--could that be it?
Here's my two cents on this topic. I think most people would be amazed to learn just how much reflected sound there is in any normal, clear-sounding recording, and how much sound in general reaches our microphones from angles that are quite far off axis. I'm convinced that a microphone's off-axis response is every bit as important as its on-axis response. To hear what I mean, if you ever get a chance to spend a minute or two in an anechoic chamber, by all means please try it. It is so totally different from anyplace where we normally hear music--and the experience underscores the huge degree to which reflected sound is necessary for recorded music to feel as if it's happening in our normal, living world and not in some abstracted laboratory space somewhere.
So I think that the off-axis response of a microphone really needs to be smooth and as neutral as possible, and particularly as free as possible of high-frequency and upper-midrange response peaks. This leads me to prefer small, high-quality, single-diaphragm condenser microphones. Condenser microphones have something of a reputation for sounding "bright," but I'm not talking about condensers that are artificially bright; there are certainly plenty of those, but there's nothing inherent in a capacitive transducer that means it has to be that way, and I avoid the ones that are.
I use Schoeps microphones more than any others, mainly because I find their midrange and upper midrange unhyped and natural sounding. Where super-to-hypercardioids are concerned, the Schoeps also has very good low-frequency response, and doesn't sound muffled or pinched when sound reaches it from off-axis.
The Neumann KM 150 or KM 185 is an alternative that I know well. I own a pair of KM 150s and I find definite uses for them, but rarely as the main stereo pair for music recording. In addition to their distinctly light low-frequency response (which I appreciate when I'm using them as spot mikes and in speech applications), they have a certain character in their upper midrange which, to my ears, makes them either exactly the right thing to use, or else very much the wrong thing.
Sometimes a company's reputation for having a certain "sound" isn't a pure blessing when they want to maintain their brand's identity--it can mean that they have to impose a certain sound quality on everything they make in order for it to seem like it's theirs. Personally, I find such imposed sound quality tiring to hear at any length.