What it is and what it was built for
A professional cardioid dynamic microphone introduced in 1966. Built for live vocal performance. Designed for TV studios first—non-reflective finish, no switch, rugged enclosure.
How it works, in terms a player would use
It is a hand-held dynamic microphone with a cardioid polar pattern. You hold it close to your mouth. Its grille diffuses plosives. Its internal shock mount and pneumatic suspension cut handling noise. It has no on-off switch. Proximity effect boosts bass when you sing near it.
What it does better than anything else
It rejects feedback better than any vocal mic at volume. It withstands drops, sweat, and road cases without failure. It delivers consistent, intelligible vocal presence in chaotic acoustic environments.
What it does badly
It rolls off high frequencies above 10 kHz. It cannot reject stage noise from the front. It offers no tone shaping, no pad, no low-cut filter, and no output level control.
What people made with it
Generations of singers used it onstage worldwide. It captured live vocals in every major concert venue, festival, and pub gig since the late 1960s.
Who should use it, and who should not
Live performers, touring engineers, community theatre techs, karaoke hosts. Not studio engineers seeking transparency, voice-over artists needing nuance, or producers requiring spectral flexibility.
Is it worth your time
Yes—if you need a durable, feedback-resistant vocal mic for live use. No—if you need studio-grade high-frequency detail, low-end control, or off-axis colouration options.