PDMIC58

Very long lead. Cable quality is excellent, I've bought alot of cheaper microphones and the shielding always breaks and wire snaps, this one is very heavy duty. Great sound quality and no loop back. Metal construction. This was for my son btw who is very heavy handed and it's by far tge best mic in this price range that I've ever bought.

I have given this microphone five stars because for the money it is brilliant. It sounds good and like the excellent SM57 it copies, it is a very good general purpose microphone. I've not used it yet on toms, snare or guitar cabinets, but I assume it will handle such roles well. I always preferred an SM57 on vocals to the almost ubiquitous SM58 provided the singer had a pure sounding voice, and I'm guessing that this mic will perform well in such a role too. It is far more feedback resistant than I dared hope; on test I could use it extremely close to and almost on axis with nearfield monitors without feedback, which is excellent. Incidentally, for anyone who has used an SM57 on snares, a role to which it is quite well suited although not as well suited as the sublime Sennheiser MD441, this cheapo Pyle Pro copy does have a distinct advantage. The SM57 top is held in place by a copper spring clip and all too often an over-enthusiastic drummer would knock the end off with his sticks,resulting in searches on hand and knees on the stage after the gig. Frequently, the clip would be lost and would result in a long wait for my supplier to obtain spares for me. This mic seems to be free of clip fastening. I've not discovered how the end is fixed but it does seem sturdier than on the mic it copies. This mic does have one significant disadvantage though which may not effect everyone, but as an avowed lover of capacitor mics, this microphone does not like phantom power. As yet I haven't found out why, but used on a desk with global phantom power, there is a distinctive mains-like hum. Using the mic with an active DI box enables the use of the mic noiselessly with phantom power switched on, but it does tie up a DI. A warning applicable to any mic as well as this one is that under no circumstances should you try and fit a male XLR connector to replace the 1/4 inch jack. The cable itself is totally unsuitable for use on a balanced microphone, but if anyone tried wiring a male XLR onto the cable in the same fashion as the female XLR, will end up destroying this (and any) microphone if connected to phantom power with the supplied cable. If uncertain of this warning, check 'phantom power' on t'internet. In summary, it does seem remarkable that anyone is able to manufacture a microphone of this quality, ship it half way around the world and sell it for under a tenner. Despite that, this is a perfectly useable mic and looks to be sturdily enough constructed to make it quite reliable in use. The 15 foot microphone cable is fairly naff, but the microphone itself would still be a bargain at twice the price.

Inexpensive microphone which works well and is very clear. Long cables included

I mostly record electric guitars via modelling plugins, primarily Amplitube or Bias, but I wanted a decent mic for those rare occasions when I might want to record my little Marshall. For all I'd use it, it didn't make sense to splurge on an SM57, so this seemed like a good alternative - and for the most part, it is. It has quite a similar character to the 57, with the same brash midrange, but perhaps a little more scratchy in the high end. This is easily compensated for in EQ, though. My biggest caveat is this: I'm not sure if it's stated anywhere in the literature, but this mic has an UNBALANCED output, rather than the balanced output found in an SM57. This is perhaps why it's supplied with an XLR>jack lead rather than XLR>XLR. For most applications, this won't matter, but I found it caused problems with a dual mic setup using a Rode NT1-A in the rear of the guitar cab, and the Pyle with an XLR>XLR lead. My Focusrite Scarlett 2i2 interface, like most similar devices, supplies phantom power across all inputs. When engaged for the Rode, this caused a significant rise in noise and loss of signal quality for the Pyle mic. It could have been worse - phantom power can destroy an unbalanced mic. The info could be a lot clearer on this point. It was easily worked around, however, by simply using the XLR>jack lead. A quick google found a simple mod to turn the Pyle's output to balanced, but given the ease of just using the supplied lead, I'll probably not bother with that. All in all, this is a good value, and very usable, microphone.

Great product at a great price

Very good microphone I use it live in concerts. Good sound quality great value for money,

For the price, this microphone was absolutely perfect. It was not a scratchy karaoke type microphone. It was flawless in sound and drowned out the background noise. I used it to sing a song at my wedding and it was absolutely great!

Clear and crisp sound, good for karaoke on BlueAnt X4

منتج امريكي قوي الحساسية المايك احترافي يستخدموه اغلب الفنانين في الاستوديوهات للتسجيل لذا. هو عندي الافضل

Good to singalong

TRIVIA: Come hanno scritto in tanti è in pratica uno dei tanti cloni del 57, ma non marchiato shure, viene prodotto da un azienda Americana di tutto rispetto che costruisce i supi prodotti in cina, la Pyle ! Pyle non solo si occupa di microfoni ma anche di altre cose nel campo musicale come coni e amplificatori ecc. USO: Il Pyle PDMIC78 è un microfono robusto che vi arriva in una scatola d buona fattura con un cavo in dotazione. Il microfono si presta bene a tutti i tipi di strumenti , specialmente percussioni, riprese da amp chitarre e strumenti tipo sax ,clarinetti e flauti ecc. Per coloro che vorrebbero usarlo come mic voce dico subito che è meno adatto, ma con qualche accorteza è possibile usarlo anche per cantare ma solo su asta, è preferibile cercare un microfono per voce specifico (stile sm58). IN STUDIO: Ho provato questo microfono (ne ho 4) e vi posso garantire che alla resa dei conti a livello di ripresa ci sono delle differenze irrisorie, anzi ho preferito la ripresa timbrica del pyle rispetto al 57 originale. Molti storceranno il naso leggendo quello che scrivo ma spesso la maggior parte sanno solo criticare senza essere costruttivi o positivi. Cosa pretendere da un microfono che mi è costato 14 euro???? Invece resterete meravigliati !! CONNESSIONI: I microfoni arrivano già con connessioni bilanciate percui chi scrive il contrario è in errore. Il microfono in dotazione funziona ma vi consiglio sempre un xlr2 xlr per isolarvi dai rumori di fondo. Ma questo non significa che il cavo non è funzionante, se non avete nessuna pretesa anche il cavo in dotazione va bene (se non altro lo tenete come back-up) !! Vi lascio due consigli alternativi, usatelo sulla grancassa , sono rimasto scioccato dalla resa sonora e dall pressione che sopporta ! Provate due pyle come OH , un mic sul rullante e un mic nella cassa ,, risultato? senza parole !!! LIVE? :Ho provato anche dal vivo, confermo quello che scrino altrove, vanno bene ! CONCLUSIONE: Per il loro prezzo vanno bene, Sicuramente nel tempo un shure originale durerà di più specialmente se abusato dal vivo, d'altronde cosa volete ? un mic originale shure costa 120+ euro quindi inutile fare paragoni ,no?