SE Electronics V7

A lot of modern singers on stage look for a certain detailed & extended sound. With music styles that focus a lot more on the detail and the shimmer of the vocal, that isn't possible to achieve with most dynamics on the market, because of how limited their bandwidth is & how altered and often untrue to the source they sound.
So, they would naturally start looking at stage condenser microphones, since condensers tend to stay away from that the most.
However, that introduces a lot of other issues. First of all, condensers are prone to feedback. Due to the wider cardioid patterns and how extended condenser microphones are by design, there are a lot more frequencies & a lot more polar pattern spots that could be potential culprits to feedbacking, which also introduces another issue: background noise elimination and leakage, which is also due to the wider patterns of condenser microphones.
Another issue is how fragile and unreliable some condenser microphones naturally are.
With condenser microphones being designed to exhibit higher sensitivity and capture more delicate sources, their capsules are more often than not designed just as delicately, which introduces the need to handle the microphone very carefully. On stage, that could be a bit hard to achieve.

What this microphone does is combine the best of the two worlds: It is still a DYNAMIC microphone, but it is incorporating something special, a neodymium magnet to extend the bandwidth, and also a relatively natural and true response across frequencies while keeping the benefits of a dynamic microphone still: a tight pattern, the reliability, and durability.

However, like everything else, nothing is perfect, and this microphone does come with a few, although easily avoidable caveats.
This microphone is very prone to breathe noises/plosives and to handling noise.
My guess is, since the production focused a lot on the sound itself, the ease of handling and use was overlooked a bit. With a little bit of microphone technique and high-pass filtering though, nothing can't be fixed.

So, all in all, if you're looking for a stage microphone that extends very high and sounds true to the sound source you're putting it against, but don't want to sacrifice the advantages of a dynamic microphone, this microphone does it all and does it amazingly.

I bought this microphone because I am not a particularly loud singer and it was highly recommended. I was not disappointed!

Pros: It's solidly built. Wind/pop filter is internal (and it comes with an extra). It seems to be a little more sensitive than the SM58 it replaced, so if you're not a belter you can still be heard. Its hyper-cardioid pattern makes it less prone to feedback. The price is quite reasonable.

Cons: Because of the hyper-cardioid pattern, you have to sing directly into it; if you're off access even slightly your volume drops considerably. This isn't a necessarily a problem - in fact, it's the whole POINT of the hyper-cardioid - but it's something you need to be aware of, especially if you play an instrument while singing or have a tendency to move around a lot.

As for the sound - I'm not a sound snob or a professional engineer so I'm not qualified (or interested) to make comments about frequency response, "sparking highs" and other such nonsense. When I sing into it, it sounds like me (but louder).

Overall, I'm really happy with it and recommend it highly.

I've used this mic for a few months now as mostly as a streaming Mic with a Scarlett 2i2 and although it (like dynamic mics generally) needs quite a bit of gain (and needs to be close to your face), the very tight cardioid pattern means that it's very good at blocking out environmental noises which I needed since I tend to have Retro computers in the room with me with loud fans that I was having a very hard time filtering out with denoisers.

It also has pretty good range and overall I'm happy with the overall sound quality from it, even out of the box with no eq applied.