• Revonic Dual-Engine Design: Two precision-matched transducers work in tandem to unlock and extra opportunity to optimize and shape frequency response, yielding exceptionally clear signal with minimal EQ.
• Supercardioid Pattern: A tight pickup pattern focuses directly in front, rejecting bleed from stage monitors, drums, and nearby instruments. Ideal for loud, high-SPL environments or multi-mic setups where vocal focus is everything.
• Natural, Wideband Clarity: The Nexadyne’s signal processing produces a balanced, transparent tone from lows to highs. Vocals emerge with plenty of low-end warmth and open mids, plus crisp, airy highs – all natural and authentic without sounding sterile.
• Built Like a Tank: The housing is die-cast metal with a hardened steel grille. Weighing about 10.3 oz (294 g), it feels solid yet well-balanced. The case is finished in matte black and ships with a sturdy zippered pouch and mic clip for protection on the road.
• Low Handling Noise: Thanks to Shure’s Revonic design, internal vibration and handling noise are kept to a minimum. The dual-cartridge system manages unwanted internal and external handling noise inherently, so you don’t need a bulky shock mount to keep things clean.
• Forgiving Off-Axis Response: Shure highlights the mic’s “exceptional supercardioid polar pattern linearity”, meaning it maintains consistent tonal quality even as your position shifts. This makes it far more forgiving than typical live mics – offering natural, studio-like vocal tone even with less-than-perfect positioning.

Design & Build Quality

From the first moment you hold it, the Nexadyne 8/S feels like serious gear. It’s dense, balanced, and precision-built — not a hint of corner-cutting. The shape is classic Shure, but with a slightly broader head near the grille that adds a touch of personality. Finished in a stealthy matte black, the all-metal body resists smudges and scratches, while the hardened steel grille shrugs off drops and knocks without flinching.

The Revonic capsule system adds some top-weight, but the mic stays balanced and confident in hand. At 294 grams, it’s got that satisfying heft you want on stage — sturdy, but not fatiguing. Every piece feels engineered, from the smooth barrel to the reinforced XLR socket.

Shure throws in a proper padded pouch, a mic clip with a brass stand adapter, and the usual manual — no corners cut. The Nexadyne doesn’t just look premium — it carries itself like something built to outlast your gear bag.

The contour of the body flows cleanly into the head, giving even smaller hands a natural grip. That slight top-weight actually helps your fingers settle into place. Shure’s internal Revonic suspension system absorbs vibration so well you can adjust a stand mid-song without it ruining the mix. We tried tapping, twisting, and general careless handling — and it stayed impressively quiet.

Bottom line: this thing handles like a weapon — controlled, comfortable, and dead quiet when you need it to be.

Sound & Performance

Plugged in, the Nexadyne 8/S delivers a vibrant yet natural vocal tone. The top end has a crisp air – reminiscent of a condenser mic, but with more restraint and control. There’s a subtle peak between 4–8 kHz that adds shimmer and clarity, making consonants and vocal texture stand out without ever sounding brittle. It’s smooth, even luxurious in how it handles detail. The mids are confident and present: male vocals come through with a warm, resonant ‘chestiness’, while female vocals retain body and glow without edging into harshness. The low end is also noteworthy, it’s articulate and well defined (rather than being muddy or bloated). Instead of thumping, you get a tight, punchy bass response that supports vocals without smearing them. In the end it brings to the table a balanced signature that just feels effortless to mix.

Shure says the Revonic capsule offers “natural and authentic clarity with a surprising amount of mid-range and low-end detail” — and while marketing blurbs are usually worth ignoring, in this case, they’re pretty spot on.

When you mentally compare it to earlier Shure dynamics like the Beta 58 or even the `legendary` SM58, the Nexadyne 8/S sounds like a direct evolution: brighter, clearer, and more spacious. Think Beta 58 with refined highs and extra horsepower — the 4kHz presence bump is still there but better controlled, lending a modern sheen that flirts with condenser territory. And yet, it avoids the grainy harshness that some condensers tend to have. I found myself barely touching the EQ: the mic seems pre-tuned to sound almost album-ready out of the box. For singers that’s a dream – just open your mouth and let it flow, as it captures the soul of your performance. Even breathy passages and subtle dynamics hold their shape and shine. There’s a certain finesse to it that cheaper dynamics just don’t reach.

…And it pays off onstage! The Nexadyne 8/S slices through a dense band mix with volume and clarity to spare. You don’t feel buried — even in aggressive rock arrangements, the vocal sits confidently on top. Thanks to the dual-transducer layout, off-axis performance is consistent too — vocals don’t dull out the moment the singer shifts slightly. That evenness is a hallmark of the older KSM8, but here Shure ups the ante in a more stage-focused direction. While the KSM8 remains a fantastic mic in its own right — known for its smooth, natural tone — the Nexadyne 8/S offers a supercardioid pattern and a slightly brighter voicing that tends to work better in live settings. It’s simply a configuration that makes more sense on stage, both in terms of pickup and presence. Pro vocalists will feel the difference.

Feedback Rejection & Off-Axis Handling

As a supercardioid mic, the Nexadyne 8/S’s biggest strength is rejection. The rear is tightly controlled, while the sides also reach almost -10db (if we’re talking 90 degrees angle) – with a big dead spot in between, so – stage noise becomes much less of a problem. Drums and other ‘annoyances’ around the singer on stage also make noticeably less impact than they would with a typical cardioid. Shure pushes each Nexadyne as tuned for “superior off-axis rejection,” and that claim actually holds up too: we were able to run monitor levels higher than with a Beta 58a or similar budget-oriented mics before any feedback showed up.

It’s also notably more stable under gain — assuming the stage configuration is proper. Since the supercardioid’s null points sit just off to the rear sides, wedge placement matters. But when things are dialed in, the Nexadyne 8/S offers the kind of headroom that makes life easier both for performers and engineers.

On the flip side, like any supercardioid it’s still a bit less linear in its response compared to a typical cardioid, and requires a bit more awareness about your placement. But it is more forgiving than budget supercardioids and in the right hands, as has been shown already, it should be able to enhance the vocal performance on stage tremendously. Meanwhile pro signers could even use those shifts to their advantage for added intonation and projection – by subtle positioning. All told, the Nexadyne’s feedback handling is best-in-class for a dynamic vocal mic – if you play in venues with screaming monitors or drummers on stage, it will definitely give you more headroom and less squeal. And paradoxically, the more confidence you have in your mic, the stronger your performance —you want to project power, not broadcast struggle.

Use Cases & Verdict

The Shure Nexadyne 8/S is clearly tailored for live performance professionals. It’s not a cheap wedding-microphone; it’s a precision tool for singers and vocalists who demand top-tier results. If you gig in bars, clubs, festivals or worship halls, and you need every nuance of your voice to carry cleanly, this mic shines. Rappers, rock vocalists, theatrical performers – any situation with loud backgrounds or strong monitors – will appreciate the clarity, focus and resilience. Even studio users might find it useful for close-miking singers or instruments when a touch of brightness and isolation is needed (some studios like having a robust dynamic for particular sounds).

Priced around the premium bracket (reviewed at $299 at the time of writing), it’s aimed at those willing to pay for durability and sonic advantage. If you’re used to an SM58 or Beta58, consider the Nexadyne 8/S as a next-level upgrade: it brings noticeably more clarity and projection. If you already love the older Shure DualDyne (KSM8), the 8/S is a different flavor – extra sparkle and a tighter pickup – rather than a replacement in kind. Tried both across a range of singers, the 8/S often stood out — not just for its clarity, but for how confidently it delivers vocals in dense live mixes, especially when the stage gets loud.

Final verdict: for any singer stepping onto a loud stage who needs to own every note, the Nexadyne 8/S delivers. That solid metal build — you can trust it night after night. And the dual-transducer design helps deliver a clear, balanced vocal sound that holds up in any venue. The result is confidence: once you’ve felt how reliable it is and heard how effortlessly your vocals sit in the mix, it’s hard to go back. It’s a pro-level investment — and one that earns its place every time you step on stage.

Highly recommended for live vocalists and sound engineers who refuse to compromise on clarity or feedback control. If you’re serious about being heard, the Nexadyne 8/S is ready to take your voice to the next level!

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Sound

AKG D7 has a big sweet spot and once again delivers a very natural tone, so I find it quite easy to work with. It has a nice clarity with lots of brilliance to it. Open and spacious high end, highs are strikingly crisp for a dynamic but remain rather smooth and do not produce any metallic resonance. The D7 diaphragm has a variable thickness, which is meant to improve clarity. It’s also being laminated in order to smooth out unnecessary resonances and reduce harshness. Think of it as a better version of Beta 58A with extended high-end response, a more refined and less grainy sound.

The low-end of this mic is less prominent. It is by design, so it never gets muddy. AKG D7 starts rolling off at 200 Hz acoustically, and has a passive roll off circuit at 80 Hz. It is designed to smooth out an unreasonable bump it would otherwise get from the proximity effect. You don’t actually need to understand all the specifics, but in a nutshell, it is just lighter on the lows. This helps greatly when cutting through the mix and alleviates the strain from the singer in a live setting. However, in an isolated setting and without the music, it may sound rather cold and may give you a wrong impression.

Gain before feedback is not something that can be as easily tested and measured, but it does appear to be much more resilient to feedback than the rusty trusty Shure SM58. This is just another advantage of a well-designed diaphragm with fewer resonance points; while the supercardioid pattern helps further with side rejection. That’s why you will barely be able to make it squeal, unless of course when messing with it intentionally. Being lighter on the low end also helps D7 at reducing the rumbling noise from both handling and wind, especially when performing open air, but those details perhaps aren’t as important.

It is also a good idea to buy some basic foam windscreen when ordering this mic. You may find them helpful on occasions, not for the wind but in order to dampen it a little – D7 can be sensitive. It’s not even about popping but just the way it handles the highs, some people may find it too crispy and detailed to their liking. It sounds almost like condenser, and the foam may help attenuating the highs, making it sound more rounded. To each their own of course, everyone has a different taste. However, the mic still remains more on the bright side, so if you wanted a warmer sounding mic, you should look somewhere else.

Overall

AKG D7 has been patiently flying under the radar for quite some time, yet it still easily passes the quality test when tested against pretty much any modern mic. It is a powerful workhorse. Might be a little expensive, considering that D5 is so much cheaper at the time of writing but it is a premium mic. And if it satisfies the qualities for which you are searching for, that we have already described at length, then it could as well be the best mic for you. Regardless of your preferences however, this mic will still be a tremendous upgrade to the likes of SM58, and even the Beta 58A, although maybe not as warm.

- Reviewed at $179.00

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Sennheiser e965 is a true condenser, which means it is externally polarized. Those types of capsules are often found in studio and generally offer a better quality overall, compared to more common electret mics. The diaphragm diameter is 1 inch, so it is indeed quite large and makes it very good at handling the low end even when voice extends lower. Sennheiser e965 provides rich, undistorted low end and a well-rounded bottom. There are actually few mics like this one, with a large diaphragm, because most condenser handhelds usually settle for medium-sized diaphragms, not larger than ¾ inch in diameter.

For comparison, Neumann KMS 105 capitalizes a bit more on the lows, working its proximity with a little more boost and empathy there. However, the KMS 105 is not the best mic for live performance, as it is especially more susceptible to feedback and is poorly suited for a more aggressive environment. In fact, they actually recommend using it with in-ear monitors (despite that it has a supercardioid pickup, which is supposed to have an improved side-rejection [ and feedback resistance by extension ]). After all, KSM 105 is a bit more of an instrument mic, and may not be suitable for every different singer.

Shure KSM9 on the other hand has a little bit less proximity pre EQ though still quite balanced, and suited for any type of stage. And yet, Sennheiser e965 is once again slightly better overall – it is as versatile as the KSM9 and is now considerably cheaper too, and has a larger capsule for a less hyped proximity effect that can be more efficiently negated via low cut filter when the situation demands it. Sennheiser e965 does not lack richness; it may be a bit less hyped than Neumann KMS 105 but it has more depth to it. For a very deep voice, it would be a good idea to use some external low cut when in supercardioid mode (according to taste of course).

But once again, it is optional, as it has a built-in roll off that does it very well, with a huge benefit of a large diaphragm that it makes it less puffy and more stable in its low end response. Not only that, a large diaphragm also helps it sound smoother and makes it less responsive off-axis, especially to higher frequencies, such as present in cymbals. Sennheiser e965 surprisingly, doesn’t pick much of the background sounds, which is a common problem with a vast majority of condensers out there. I have seen dynamic mics that are way hotter than this one. The handling noise of this mic is also minimal.

Sennheiser e965 is ideal for stage. It has a good feedback resistance on par with dynamic mics. It has just enough brightness to cut through the mix without sounding harsh. In fact, there is no noticeable distortion or brittleness at all. This is very important because even most expensive mics are suffering from being brittle whenever they are trying to capitalize on that added brightness, but this is definitely not the case with the e965. As regards to the clarity, I don’t think I have to advertise much the clarity of a condenser here, because this is just something that comes naturally with it, among other perks.

Sennheiser e965 has a nice brightened response, but not brittle, it is a very clear and open-sounding mic. A well-polished frequency response, smooth, without any irregularities there makes it sound very natural too. Especially the cardioid pattern gives it a studio quality sound, no gimmicks here. The mic has a high sensitivity, in a sense that it provides a significantly higher output and needs less gain to drive, but that doesn’t mean it would distort the sound in any way or require some special treatment. On contrary, it is easy to use – it just sounds more expressive and dynamic, adding a bit more detail and definition to your songs.

This mic would be an excellent choice for any professional singer on stage. Sennheiser e965 is a natural upgrade to a dynamic e935; and it rivals other high-end condensers without getting too expensive. Particularly, it offers a better gain before feedback than Neumann condensers and it is less sensitive to background noises or in other words, it is not as hot and therefore more suitable for live sound reinforcement. Switchable cardioid and supercardioid pattern make it even more versatile for all around use and the e965 has no problem with handling most of the instruments either whenever it is needed.

- Reviewed at $499.95

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Frequency response

Here is a frequency response but don’t get too excited because I actually posted a comparison and the one on the left is none other than Shure SM57, and the “Super Deluxe” is the one on the right. Yeah, the SM57’s response surprisingly looks better, whereas the Super 55 has a disgusting cliff into abyss right at the point of 10 kHz. But I mean, if a hundred dollar SM57 were to be considered the golden standard of quality (to begin with), if this was the case… I should probably give up on reviewing them anymore. So, here we have it, our precious “Super” 55 beaten by a ‘trash-tier’ instrument mic from the same manufacturer.

If you remember that old SM58 sound as if someone wrapped a blanket all over it, you are going to love this! (No way). Shure Super 55 Deluxe does have a seemingly bright response but still it sounds muffled and lacks transparency, which is just unacceptable for a modern mic of this price. On the good side, it doesn’t have this muddy taste, so the lyrics sound more intelligible. Yet, it’s hard to get excited over this type of sound after trying out the modern Sennheiser or even Electro-Voice mics that are better in every respect. I find that this mic also needs quite a bit of gain in order to be heard, which could sometimes be an issue.

Performance

The above said wouldn’t be as bad if it hasn’t been exhibiting a nasty behavior on stage. The mic appears too hot and picks up way too much background, as if it was a condenser mic, which it is not. Yes, and it has a special affinity for cymbals from a drum set, so this wash bleeding into lead vocalist mic can actually affect the whole band performance this way, without providing any benefits such as improved clarity and extended response that you would get from a condenser. Another issue is constant popping: Shure Super 55 Deluxe is very sensitive to popping and there is no way to resolve it without replacing the mic altogether.

On this picture, I have compared the vintage 55S on the left and the modern version of the mic on the right. As you can see, the old mic had a huge capsule with suspensions all around it, some of the mics also had transformer in there. They were big and that was a necessity of the design. The capsule was also significantly recessed inside in order to provide a uniform response. The newer versions honestly look like rip-off. They took a tip of a mic, and simply fitted it in there, duh. As a result, you must always maintain the exact position, singing right in the middle of the mic, otherwise you will not be heard. Do you love challenges?…

Verdict

Shure Super 55 Deluxe is all about the looks whereas performance is only secondary. The sound is still pretty good, and it definitely surpasses that of the 55SH, its century old cardioid brother. Nevertheless, it barely stands up to other modern mics; take even the Beta 58A of their own making – at the time of writing it is actually both much cheaper and more reliable for live performance (doesn’t sound pristine but at least unaffected by popping). Unfortunately, the attempts to imitate the old school design inevitably affect the performance and also make it more difficult to use. Consider this another attempt by Shure to fill their pockets, feeding on the fame of the older 55S, popularized by Elvis Presley.

- Reviewed at $249

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Sound & quality

Sennheiser e845 is certainly less popular than the e945 nowadays, because the latter is an improvement of the former. It would make more sense to review the e845 first and the then talk about the improvements introduced with the e945, but we have it backwards now and I will be referring to the e945 for comparison. I did mention before that Sennheiser e945 is not quite suitable for “bass” voice type. Some people argued with me that it works perfectly for their bassy voice, but in fact, they were referring the baritone type. Bass voice is very deep and few mics can actually handle it.

Well, the e845 story when it comes to the bottom end is much worse. After having reviewed nearly a hundred different mics, it pains my ears whenever there is mud in the sound. Therefore, I would not even recommend this one to baritone singers. But I am a perfectionist and for the sake of the reviews, I have to exaggerate some points so that you can perceive the difference. Most singers do not notice that there is anything wrong because they have few mics to compare to in order to form a valid opinion. However, this mud isn’t a factor for tenors; it is in a sweet spot where it sounds as good as $300 mic.

Yes, you can get the best out of this mic if you are not performing in the lower register. And occasionally if you do, there is going to be a muddy feeling to it. Still, for a hundred dollar supercardioid mic, it isn’t bad at all. It is in fact better than the industry standard SM58 in every respect and the amount of clarity in the higher register quite compensates the lack of refinement in the lower end. The e845 is fairly bright and has an extended frequency response, in which regard it may sound more expensive than it is. Yet the E945 is slightly smoother here and better accommodates for the higher pitched vocals too.

Sennheiser E845 vs Shure Beta 58A

I think it would make a lot of sense to compare those two supercardioid mics since they are in a similar price range. Both have their own strengths and there is no clear favorite – it depends on the situation. The strength of the E845 is once again its clarity and the openness of the sound and the trade-off is the bottom end. Beta 58A on the other hand is brighter and cuts through the mix even harder, and sounds very unlike the old muddy SM58. (Don’t confuse the two Shures based on the model number – the Beta is quite different). The tradeoff of the Beta 58A is a bit of noticeable graininess and harshness. In a nutshell, the choice comes down between more mud and more harshness but it’s all relative.

Build and overall

E845 offers a sturdy build, the mic is roadworthy and there isn’t much to break. Both the Sennheiser e845 and the e945 come with 10-year warranty, something not every manufacturer can offer especially for its budget mic version. An interesting visual difference between the two is that E845 has a bigger and wider head but the length of both mics is the same. Both supercardioid mics are equally as good in terms of feedback rejection, EMF rejection and feature low handling noise. E945 is of course more versatile, smooth and refined but for a classical tenor type voice E845 does the same for half of the price!

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Sound & quality

Telefunken M80 indeed seems to resemble the sound of the old trusty Shure SM58 to a high degree; they have similar curves and behave in the same way. The only strong difference here is that the response of the M80 has less low end, in fact the frequency chart shows that it starts rolling off at 200 Hz, whereas Shure has it a little above 100. Ideally, we don’t want color especially when it comes to the low end, so one could expect that a flat curve is the way to go. However, this isn’t the case here, because these types of cardioid handhelds are inevitably affected by the proximity effect.

Therefore, when you hold the mic up close, the lows become significantly boosted and what was supposed to be flat response on the chart becomes significantly bumped and overblown, resulting in ‘mud’. The SM58 has always been suffering from this muddiness, causing a lot of disappointment and often times resulting in the vocalists struggling to be heard. Instead of producing clear voice there would just be this mud and rumbling. In this regard, Telefunken M80 is a big step up – the low end has a much better balance to it and the response becomes optimal at the actual close range of a handheld.

In terms of clarity, the difference isn’t that big although the M80 is slightly superior, as there seems to be a bit more air to it. I wouldn’t call it as crispy as a condenser, it sounds rather smooth but the amount of detail is good regardless. There is also another difference between the two mics. The SM58 has a noticeable dip between 7 and 8 kHz whereas the M80 does not have it, which mean the latter is more accurate and requires less EQ. However, when this nuance is tackled the SM58 actually sounds almost identical. The similarity between the two is remarkable, which is good news for those loyal to Shure.

Brand and build

Telefunken is a German brand, which has subsequently opened in the USA. It has a long history and legacy of producing some legendary mics – we can’t take that away from them. In modern times however, they seem to have been rebranding and modifying some of the Chinese mics. You can google the Apex 460 controversy, which lives to this day. Of course, they do have engineers to produce their own models, and the M80 reviewed is their original design but it seems to come at a premium cost. Consumers are convinced and are willing to pay extra for the mic that has a Telefunken logo on it.

For me, I don’t find it justifiable to pay two hundred and fifty bucks for a dynamic cardiod that doesn’t offer anything special from the technical standpoint. We have reviewed Heil PR 35 at around the same price, which really offers something different. It’s in its own league with its massive diaphragm that provides a dramatically deep low-end response and it’s priced accordingly. For the Telefunken M80 I just don’t find this to be the case. They even charge huge premium for their wooden and chrome designs. That being said, they indeed look pretty, feel solid and durable, meeting the definition of a reliable workhorse, albeit a bit pricey.

- Reviewed at $249.00

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Sound & quality

Heil Sound PR35 is quite known for its clean and rich low end that can adequately reproduce the fundamentals of a deep baritone voice. Yet, it is also known as the mic sensitive to plosives, handling noise and the one that exaggerates the richness beyond the reasonable amount… Which of those statements are true? – The answer is both of them! PR35 is one of the few mics that extends very deep without rolling off. According to specs, the lower limit is 40 Hz, which is very impressive. Unfortunately, at this frequency the mechanical noise and the popping phenomenon do become very prominent.

And it is also true that PR35 can sound overly rich and rumbling, especially if you’re staying on top of it. Obviously, the proximity effect is the cause, but, there is one crucial difference! The proximity effect of this mic is somewhat similar to a studio LDC, which mainly triggers the deep lows and thus barely interferes with the fundamental frequencies of a male voice. Other mics often roll off at higher frequencies, so the proximity effect shifts more towards mid lows. This produces a boomy sound, which is difficult to clean up. However, the deep proximity of the PR35 is easily neutralized with a HPF.

Indeed, all it takes is to apply a high pass, and it also gets rid of the popping and handling noise along the way! So don’t be worried about pop filters and stands, even the included foam – you may find it excessive. If you set it up right, you get a stunning quality low end, but, it takes some work. The sound engineer must know his business and be ready to adjust the filters as necessary. The mic has an additional active high pass filter, which can be activated by a recessed switch but I don’t recommend using it. It is much better to keep it on flat and then do what is needed in the mixing board.

Moving on to the highs, Heil Sound PR35 sounds very smooth, somewhat bright, and crispy, with most emphasis on presence. Indeed, the frequency response peaks at 5.3 kHz, after which it starts to roll off; nevertheless, it doesn’t lack air unless you cover it with a thick foam. The mic cuts through relatively good, but unlike Shure Beta 58A or Sennheiser e945, it doesn’t boost the upper midrange as much. Beta 58A sounds a bit harsher but it’s not afraid of a dense mix and comes louder on top; PR35 can be ideal for Jazz bands and more aggressive music as long as you don’t want to overemphasize the vocal.

Design and durability

This mic is really lightweight: weighing only 255 grams, it is lighter than Shure and Sennheiser handhelds. In terms of durability, it may not be as good but it’s still stage-worthy and you can carry it around without worries. Just try not to drop it and don’t expose it to moisture for a prolonged period. Heil PR35 has a huge diaphragm of 1.5 inches, which greatly improves its low-end response. That size partly explains the high price but as a cardioid mic, it’s still very expensive. Like all modern mics, it uses a hum-backing coil that reduces EMI. The new version also has an improved internal shock mount.

Who should use it

Heil Sound PR35 can be used for commercial broadcast, recording and high quality live sound reinforcement. For a cardioid mic, it has a very good feedback rejection, so it works for moderately loud stages while retaining the natural sound. However, a more aggressive environment may demand using a mic with a supercardioid or even hypercardioid pattern, so keep this in mind. I mainly recommend it for professionals who know their business and do not skip on their gear. However, for an amateur band singer, performing through a mediocre quality PA – this would be a complete waste of money.

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Shure Beta 58A vs Shure SM58

For those who haven’t already compared the above mics, the difference may not be obvious, except they have different polar patterns (SM58 is a cardioid and Beta 58A is a supercardioid). Both share similar looks and model number, and neither is there a huge price difference to suggest that one is far superior to the other. Nevertheless, there is a night and day difference between the two. Not only Beta 58A has a tighter pick up pattern that makes it way more resistant to feedback, it actually blows the SM58 out of the water in terms of the overall sound!

Shure Beta 58A did somewhat retain the feel and character of the old SM58, but it is no longer muddy and honky – It’s been really improved! Moreover, it certainly sounds less harsh and more open… maybe not as great as Sennheiser e945, but still tremendously better than its predecessor. For the sake of comparison, let’s also mention a couple of other mics. If you are after a more defined sound, it is worth considering the Beta 87A condenser as well, but all three are actually great mics. If you are a cheap ass, then go check out AKG D5 but you’ll find it more blurrish and worse in terms of feedback.

Sound & quality

First of all, let’s have a close look at the frequency response of Beta 58A. Comparing to the SM58, you can see that there is less low end overall and it rolls off more naturally too. This is why the mic no longer suffers from the excessive mud and unnatural low end, for which SM58 is infamous. The boost that is responsible for the brightness, seen in 3 to 4 kHz range reveals a very smooth transition. On the other hand, SM58 has this transition in 2 to 3 kHz range and it starts a bit too abruptly. This is the point where it gets to sound honky, whereas Beta 58A remains “cool” and natural.

In the high frequency range, Beta 58A does not have as many bumps as SM58 and so it sounds smoother and less sibilant. If you notice, the frequency response extends well above 10 kHz, and it’s awesome too. There is however a 90 degree joint at 6.3 kHz, suggesting a resonant point but it’s not that bad if you listen to it. At this frequency range, our ability to discern sounds starts to diminish rapidly, so it may as well go unnoticed. Nevertheless, some degree of harshness is there, but that is why they produce more expensive mics. At this price range, without doubts, Shure Beta 58A is an excellent performer.

The transient response has been improved too compared to the SM58, and as a result Beta 58A is better at reproducing all the details and subtleties. Nevertheless, in terms of clarity it lacks behind compared to the Sennheiser e945. Comparing to Shure Beta 87A, the difference is even more dramatic. As a condenser, Beta 87A is much more sensitive and literally hears almost everything. When performing on cluttered stages this can also turn into a disadvantage, especially in proximity to cymbals, so despite being an overall better mic, in some situations you may actually prefer Beta 58A.

There is yet another improvement compared to the SM58. Shure Beta 58A has a better voltage gain and requires less amplification. This translates to better SNR and less impact from EMI interference. The gain before feedback of this mic is excellent, and it even beats the expensive units! There are three reasons to it. First, of course is the capsule that has been made less resonant. Second is the improved insulation from the body that helps to eliminate low frequency feedbacks due to physical vibrations. Third, it is designed for close proximity and simply put it will be less sensitive to other inputs i.e. PA system.

Conclusion

I don’t think we need to talk about the build quality here because Shure is quite renowned for making durable things, and in terms of durability, it’s unlikely to be much different from our previously reviewed SM58, aka nail hammer. Therefore, I will jump straight to conclusion. So, is it worth buying Beta 58A? The answer is yes! Excellent GBF, reliability and versatility, and great overall sound – and behold, it actually turns out to be the best supercardioid mic in the sub $200 category. Besides, even if you own some more refined mics, this will serve as an excellent back up.

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Sound quality

E835 has a bright response and offers a strong in-your-face presence, which makes it very easy to cut through and yet the higher end lacks some transparency. It’s not too muddy and it’s not inferior to other mics in this price range. Most people won’t notice this, although a seasoned musician may get irked. It still outperforms the SM58 but the transient response isn’t that much better. The upper midrange is a bit bloated and gets outright harsh if it’s pushed too hard, especially on those soprano harmonics that fall into range.

Still, you should not get a one-sided impression about this microphone. Sennheiser e835 is excellent at handling speech, and it has a pretty damn balanced low end. The impact of proximity is minimal and talents will never get boomy. More or less it sounds natural.

Taking brightness into account, it actually performs very well for baritone singers. Some people won’t even need those more expensive mics to sound good and as long as gain before feedback is not an issue, this can prove to be a very good buy. For tenors and soprano, it’s also usable but it may lose some detail and get a bit edgy in the upper midrange.

Build & durability

This mic has a decent quality build, quite similar to more expensive Sennheiser models. Likewise, it is covered by extended manufacturer’s warranty. It uses a humbucking coil that reduces electromagnetic interference, and it has a quality suspension for the capsule, which will effectively minimize handling noise. The body design is where the things get different. In spite of having similar looks, 800 series are for some reason lighter than 900’s. The mesh grilles on e835 also seem a bit weaker and may potentially come off if dropped repeatedly. I’d advise using it with care, since you don’t want to void the warranty.

Advantages

• This mic has a very attractive price tag and pretty decent performance for the money.
• It is also among the most popular models from Sennheiser.
• Strong presence. Easily cuts through the mix. More or less natural sound.
• Excellent performance for speech. Produces intelligible words, no boominess.
• It is easier to handle than mics with tighter pickup. The sound will not change when slightly off-axis.
• This also implies the possibility to mic two talents simultaneously.
• Very balanced low end – works great for baritone singers.
• Has a quality internal shock-mount and humbucking coil.

Disadvantages

• Lacks transparency. Transient response could be a bit better.
• Hyped upper midrange that gets harsh on strong notes.
• Not as versatile as e935. Mesh grilles are less rigid.
• May produce nasty feedbacks on loud stages.

Best Price on Sennheiser e835 Microphone

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Sound & quality

This mic has a promising frequency response that offers same amount of brightness as SM58 but without any abrupt bumps in high end. The low end is more stable as well – there is no mud and yet it gives a pleasant amount of richness. The high end is somewhat gentle but it has more clarity than Shure, and of course, it cuts through better. On the other hand, I find that transient response has a room for improvement. It just sounds a little blurry, and although those with shrill or harsh voices could potentially benefit from this, in normal circumstances it could be robbing you of some detail…

Gain before feedback

D5 relies on AKG’s patented laminated diaphragm that is claimed to be less resonant and therefore more resistant to feedback. This appears to be true when comparing to SM58… and it’s quite decent, but slightly inferior to some Sennheisers. Provided it is supercardioid, D5 is also less likely to trigger feedback off axis, i.e. when not pointed to monitors. However, like all supercardioids it can trigger feedbacks if the monitors are placed in the middle rather than to the sides, because the rear end of the mic becomes receptive. If you are planning an upgrade from SM58 (cardioid) then please be mindful of those differences.

Features, build, durability

AKG D5 is equipped with an integrated pop filter that does a good job in reducing pops and blowing or wind noise. In terms of handling noise, it does not stand to the claims and it’s noticeably worse than Shure. Nevertheless, I believe it has more to do with its supercardioid pattern that naturally makes it more receptive – rather than a flawed design.

The microphone design is simple but very durable. It has a die-cast metal body and the mesh grilles are made of spring steel. This implies that even if you smash the grilles nothing will happen, as they will just spring back to normal. It’s also unlikely to develop scratches, unless it meets concrete or other coarse materials, so it’s one less thing to worry about.

Three reasons to buy

1. Anyone who needs an affordable, decent sounding mic can look into D5. Although SM58 is more common, it actually takes a good sense and lots of time to fiddle with EQ, whereas this mic performs much better out of the box.
2. Amateur singers don’t necessarily need mics that provide lots of detail. On contrary, they may even benefit from the extra smoothing that D5 provides. Especially those with imperfect technique and harsh or shrilling voices.
3. In addition to the above, this is also the mic you can pass to anyone without any back thought because it’s cheap and durable. If you’ve ever worked with drunkards who occasionally tend to drop mics, you will understand.

Best Price on AKG D5

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