Sennheiser - e 935

e835 is just cheap junk.... e845 is a little better but still not great, both are a fraction of the price of a 58, which is why you see them, they're cheaper than a 58 and sound better than most other options at the same price point. e900 series are the ones that are supposed to sound decent and I'd rate them above a 58 However, the best value dynamic currently available (IMO) is the SE v7... Its the same price as a 58 but sounds better than an e945 (IMO)

Just a piece of advice regarding mics. Try to remember that each mic has a slightly different equivalent eq curve, and if you can find a mic that enhances your vocal in the right frequencies it can help a lot. I have about 30 different handheld dynamic mics in my inventory at the moment, and when anyone asks for a mic recommendation I invite them round to my studio, and record them singing into batches of 4 mics at a time. We then listen back and see which mic is most flattering to them without EQ. Polar patterns are also important when stage noise is an issue, and I usually suggest avoiding cardioid mics unless the singer is very powerful, or has to move a lot relative to the mic. Some of the winners that usually come out of the shootout are the Audix OM series, Sennheiser 935/945 (935 is my personal fav for mid priced dynamics, but that is based on my voice), Shure SM57 Beta, and an old EV ND357. I personally hate SM58s, and whenever someone goes "but you can bang a nail in with it and it still works", I ask why they don't use a hammer for nails, and a 935 for singing like a sensible person.

The e935 is a criminally underrated mic for live work. Both the e935 and Beta 58A are typically the first two mics I reach for with live vocalists, but Heil's PR35 still gets a lot of use as well as Telefunken's M80 (does not suit all baritones/basses Tbf)

I only have e935 and rode NT1 signature, so cannot comment on e835 but there are comparisons on YouTube. In terms of quality, both sound pristine you can 100% get professional results with either option. I lived in a noisy apartment with no room treatment at the time so e935 was somewhat easier to work with. NT1 would always record outside noise from the street and even tiniest noises from my room equipment and furniture. You can remove them, but it is additional inconvenience you have to deal with. I didn't know much about SE V7 then. I would have gotten that one if I did more research. I think it becomes the industry standard for live shows, dethroning sm58, as I see more people use it live. I am sure it will sound more than good enough for home recordings too and it is significantly cheaper. I would get that one now and SM7B later if I feel I needed an upgrade. Also, I would advise to get a decent windscreen. I really like metal screens like Stedman Proscreen but it is not a necessity, they just work better.

You are not. They are mostly rubbish. 935/45 is getting more towards sounding good, but the capsules dull so ridiculously quickly from spit, etc, that I feel it makes them a silly choice. There's plenty of much better options out there. For me personally, I love the Audio Technica AE6100. Also had some good results with DPA stuff. Know loads of people who like their SE V7's (although I've not really used them in anger as anymore than a shout mic). If you are after LOADS of gain before feedback, Audix OM7's are pretty good. The point is that there are choices. Sennheiser made themselves very popular in the market years ago by giving their mics away to any engineer who would try them.

Unless you're really certain that you need a super- or hypercardioid for monitor placement or other gain-before-feedback reasons, then I'd recommend sticking with a cardioid because that pattern is a lot more forgiving whenever it comes time to sway from side to side or peek at the fretboard. While the Beta 58a, M88, M80, and MD431 will all have a touch more \*sparkle sparkle\* than an SM58 when you're right on top of them, move your mouth an inch to either side and all of a sudden they've got a blanket over them. The AKG, being a condenser, seems like more trouble than it would be worth unless you're planning on switching to in-ear monitoring. While not fancy, the Sennheiser e935 might be worth a try if you just want a bit more clarity than the SM58.

I have lots of vocal mic options in my kit...most of the time I'll just throw all SM/Beta58 or SEv3/7 or E935/945 (yes, have all these options and more) across the stage for everyone. If we're talking one off show, there's not really time usually to dial in specific mic choices for each individual vocalist, it's usually more chosen for the type of music, stage/venue, and skill level I'm working with (an SEv7 in front of an inexperienced person is a pain compared to a an SM58 with it's wider pickup pattern for instance). If we're talking an artist that I would be frequently working with, there's usually time to try out a few options over the course of several shows and get a preference for them specifically. Only exception to this would be if it becomes very obvious very quickly that they'd sound best on something else, knowing what each mic typically brings to the sound.

im a trainee with live sound, so probably take this with a lot of salt im not a fan of the sounds of 58, my work had some 835s so i tried them and the other tech told me no ages ago, i ended up putting one up the other week and had a bunch of feedback issues, thats when i discovered why we dont use it unless we need to on the other hand, the 935s we have are amazing and sound a lot better imo, but our 58s are pretty beat up and probably need new shields and absolutely look like the anarchist club they came from (possibly too identifiying)