• 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 & quality

The sound quality of the microphone is very good overall – performing alike units twice and triple the price, it just destroys anything under $100. There are many aspects to it but we shall start with the frequency response. By the way, all the specs are readily available in the documentation, for which lots of kudos to Maono, because usually producers hide this info when it comes to budget mics. So, the frequency response of HD300T is actually flat, it has very little coloration and therefore gives you a quite accurate tonal representation. It could be described as neutral with just a touch of warmth, working very well for announcements and vocals.

The roll off starts at 90 Hz and goes 10 dB / octave meanwhile upper highs receive some boost in the 7-10 kHz region, giving it more presence and clarity, and even extend to 15 kHz. This is a very good curve for a dynamic mic, and especially for a USB mic… The highs are transparent, silky and smooth; the mid-tones are neutral and the lows are just natural. Condensers, in comparison may sound a bit more detailed but usually also harsher, which is not ideal especially for the beginners who have not yet mastered their recording techniques. On the other hand, HD300T does not fall behind in terms of clarity either, and everything contributes to easy use.

There are actually even more advantages compared to condensers: you can stay right on top of it without overloading the mic or causing some unpleasant proximity effects – Maono handles it very well. And the closer you are to the mic, the higher signal to noise you get against the background. Condensers usually like a bit more distance thus also picking up more background. Another advantage is that it handles the wind very well. This may sound irrelevant at first, but in reality blowing into mic while singing or even breathing is very common. Compared side by side with Shuve MV5, there is a night and day difference in this regard.

Comparison

There are however some disadvantages too with the HD300T. Those aren’t even about the quality of the recording, but rather regarding its utility. The first thing you’ll notice is that it doesn’t have that much gain compared to more common condenser mics. For speech, you may want to keep the gain slider at 100% and only when singing up close will you have to lower it. If you can always be on top of the mic, this isn’t a problem at all. However, if you like to lean back leaving it on your desk – this will not work. It simply won’t have enough gain to pick up the sound from afar. There is no way to set it above 100% and since it’s only 16-bit depth, boosting in DAW may not be lossless either.

Another issue is that the real-time monitoring output does not provide the best audio quality. It does get quite loud in comparison to that of the ALC887 in my motherboard, so I was able to hear myself clearly while recording. However, it just isn’t the best sound if you are trying to master or your recording, even applying EQ is going to be out of the window. So as soon as you’re done recording, you want to use a better DAC or switch to your studio monitors. My headphones have 16-Ohm impedance, so when I plug them into the mic, there is not enough power to drive them. As a result, I found the low frequencies, such as 50 Hz were non-existent during playback.

For comparison, Audio-Technica AT2005USB has the exact same drawbacks: potentially lacks gain and provides even less power from the DAC into low impedance loads. Those things aren’t deal breakers of course, but it’s always good to understand what you are getting beforehand to keep yourself from dissatisfaction. The Audio-Technica mic by the way has a brighter response, more appropriate for stage use rather than home recording, whereas Maono is mellower-sounding. Since it also comes with shock mount and pop filter, I’d say Maono actually takes the upper hand. I am a big fan of accessories, because in the end they help improving the sound at no additional cost.

Durability

In terms of durability, HD300T looks very solid but once you hold it in your hand, it will feel even more solid. It weighs no less than the regular XLR vocal mics and has a full aluminum, metal body. The grilles also look nice, so I suppose it has to be durable, or at least its dynamic component. When it comes to the USB and active components, we may need a little bit more feedback from the users because this review is ahead of the actual release. One thing that concerns me is the unjustified use of the USB-C port, which feels a little bit wobbly and I wouldn’t want to strain it. Just to be on the safe side I’ve come up with a cable management loop, luckily the cable is long enough to allow this.

- Reviewed at $69.99

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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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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

Sennheiser e935 has a well-crafted frequency pattern with a reasonable presence boost and decent bass roll off, at the same time there is no sudden bumps – the gentle transition makes it sound very natural. The frequency response is wide, and in practice extends far beyond the nominal 10khz mark, which gives it an open sound with lots of transparency. This mic has an optimal balance of brightness, which is so crucial for live performance, so it easily cuts through the mix, and yet you won’t hear a pinch of harshness that of the condensers. It is also remarkably crisp for a dynamic mic.

Indeed, e935 sounds rather smooth, though still offering a good transient response it retains a great amount of detail and clarity! The low end is also optimally balanced, you will hear no mud and it will have minimal proximity effect. So if ever you decide doing a side-by-side comparison, for instance, SM58 would come out sounding markedly slurred and muffled. Note: I’m not playing with words here, this mic’s been out for a good while and you could say that these are well established facts by now. And last but not least, its ability to handle high sound pressure levels makes it suitable for various vocal styles, from gentle to powerful performances.

Design and build

Weighing 330 grams, it is slightly heavier than SM58 as well as a bit longer. The mic has a solid, rugged metal design with a sturdy metal housing, giving it a good feel. It’s very durable in its appearance and once you hold it in your hand, the robust build quality becomes evident. It’s what makes it withstand the rigors of touring and live performances. E935 is an unpretentious mic that can work in different weather conditions and it proves to be a reliable workhorse onstage. In case that something goes wrong, Sennheiser backs it up with a 10-year warranty. The advanced shock mount design is there not only to minimize potential rumbling but also to ensure additional durability.

Just like the old Shure it can easily survive several five-foot drops without any damage. Its cardioid pickup pattern effectively reduces feedback, even near speakers and monitors. But a far more important factor that helps feedback resistance even farther is the absence of resonance peaks in its response. So apart from being extremely resistant to feedback, a humbucking coil assures cancellation of interference, whereas the shock-resistant capsule mounting also does well at minimizing the handling noise. The mic also has a very decent sensitivity so it will work with any PA system with no problems (unlike some dynamic mics), once again making it a very versatile choice.

Why it belongs on your stage

Even though we do admit for the most part that mics have to be chosen individually, out of all Sennheisers models, e935 is probably the most successful – it has the sweet spot, it is easy to work with and it works for everyone! Doesn’t matter whether you are a high-pitched female singer, a bassy baritone, tenor or whether you are buying it for your 10-year-old kid, this mic can still give you an amazing performance. As for our ears – we can’t find any flaws and even in terms of price, it is quite affordable. Virtually, this would be an invaluable tool for any musician on stage.

Furthermore, the e935’s versatility extends beyond vocals. Its ability to handle various sound sources, including instruments like acoustic guitars and percussion, makes it a valuable addition to any live or studio setup. The mic’s cardioid pattern and advanced shock-mount system help in feedback rejection and proximity effect, keeping your sound clean and consistent, even under stress. On stage or behind the board, the e935 rises to the moment—gracefully handling everything from voice to percussion with clarity and control.

Advantages

• This mic produces smooth and natural sound.
• It has a nice amount of detail and gives you very intelligible lyrics.
• Offers a good balance of brightness that makes it easy to cut through, i.e. put your voice ahead of the instruments without sounding harsh or tiresome for the ears.
• Performers find that they can hear themselves clearly while singing at their natural volumes. In other words, with this mic you won’t have to strain your voice in order to be heard.
• Suitable for all kinds of (male, female and even children) voices.
• Despite featuring a natural cardioid pickup pattern, this model is extremely resistant to feedback.
• The mic is quite durable and has a nice solid feel.
• Very affordable, easily beats more expensive units!

No disadvantages

Best Price on Sennheiser e935 Microphone

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Sound & quality

Shure KSM9 has a fantastic quality and it gives a very natural sound. Aside from singers, we’ve seen it working for acoustic artists too, for example guitar players etc. Just make sure to point it where you want to and it will do the rest. As for music genres, KSM9 works best with latin, jazz, pop music, rock and similar. For more aggressive styles like metal, technically you’ll still get a better quality vocal, but among those loud and heavy guitar riff sounds you may probably not be able to notice the difference.

In terms of frequency response, the sound of KSM9 is very well tailored, and it does sound much better than a typical ‘flat-response’ condenser. The lows are being naturally rolled off to avoid that unwanted mud and boominess. The entire midrange, which corresponds for vocal and most instrumental sounds is precise as never before. The higher range gets some gentle boost, resulting in more transparency and helping to cut through more easily. KSM9 is also amazingly crispy and I find it quite amusing. It maintains a great accuracy at higher freqs (where other mics err), and even those high-pitched harmonics sound so much natural!

It is also nice to admit the technological advancements implemented in this unit. Aside from its precious, gold layered, low mass diaphragm, KSM9 uses first class electric components for its preamplifier circuit. This helps to achieve an extremely fast transient response and make the sound more vivid.

Features

This mic has a number of features that make the overall experience even more enhancing… First of all, is a state of art suspension system for the capsule, which results in reduced handling noise.

Condenser mics are generally considered as sensitive to handling vibrations; however, in case with KSM9 the difference is tremendous. Second, nonetheless very important feature is a unique grille design that does an impressive job in reducing popping sounds. They call it a three-stage grille or simply triple grille.

Last but not least is an interchangeable polar pattern. Shure KSM9 has two modes: cardioid and supercardioid. Both patterns are standard and both can be as useful in different situations. For example, as a lead singer you will naturally lean towards a more balanced sound of cardioid. However, when the stage gets more aggressive and louder, you will need the improved rejection and gain before feedback of supercardioid. Unlike with other mics, both patterns of KSM9 work flawlessly. Thus, it is like you buy one mic but end up with two, and you can switch them whenever you want, which is quite very awesome.

Who should use it

Any artist or singer who has enough money for professional gear could use KSM9. This microphone can give a colossal improvement to your vocal and it actually deserves every dollar spent. Comparing to other Shures, it is a great step up from their Beta 87A and miles ahead of Beta 58A. They are just in completely different leagues. Therefore, if you can afford this mic, go ahead and start digging that difference.

Best Price on Shure KSM9

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