20 Best Headset Microphones For Singing (2023 Updated)

I think C520 is the greatest microphone in the world for voice/speech recording. CM311 might be good for stage, where very high levels of noise present, including from the stage speakers/monitors. Who knows; in my room with cat and air conditioner as main sources of noise all fidelity of my voice is lost.

I hear myself but it’s not me. With C520, on the other hand, I hear myself and I like what I hear; it’s me, also, perhaps, a better version of me, more genuine, more smooth as I have to put much less energy into my voice and still hear my excellent voice.

I think it’s perfect for podcast, video blogs and alike. For some reason big, heavy, stationary mics are used for it. But you have to move your head, so all quality, even if present – is easily lost.

C520 is head-worn, lightweight. Therefore I believe quality of my voice recordings is surpasses and expensive, “desk-attached” mics. When making comparisons, the same piece of equipment was used: RME Babyface Pro.

Which is as good as it gets for studio quality recordings and not only.

I used a C410 for 30 years but thought it was time for an upgrade. I bought one, tried it in my own p. a. system and found myself setting the Gain to zero, and backing the slider to 50% of any of the SM58s or where I used to set my C410.

First show, with full production supplied, and the techs are telling me that the the snare is clipping everything, through the C520. They padded it, zero’d the gain, everything in their arsenal. I returned it to M’friend and got another, figuring it to be defective.

Nope, same result with the replacement. Great mic, everybody loved how clear my vocal was (I sing lead & harmony), but the snare, toms and cymbals were too hot, when it was up for me to sing. It also needs a longer boom.

Some of us have longer jaw lines. Strike 2. I’ll try a Crown next. More money but if I can hold the horses on it, it might be worth it. After that, it’s the Shure. with a 4ft cord.

Headband was way more comfortable than I thought it would be looking at pictures. I much prefer the Mic boom on the C410 that has the rubber arm with an elbow. The metal boom just doesn’t adjust as well as I would like and then it has a 2″ section that’s just floppy rubber that I don’t like it all.

Sound quality is very good.

I think this mic is great for sound clarity and range. I think the headgear feels kinda clunky though. And though it says you can bend the wires to make a custom fit, it doesn’t really give much. The microphone arm tightens with a screw but you really have to crank it and it still moves a little too easily in other directions regardless ( towards or away from your face).

I chose this one because of a demo video comparing others warn by a singing drummer based on its sound and rejection of the drums. It seems that crown hasn’t attempted to update their headset design in 30 years and I wonder if a Shure or others slightly less expensive but more recently released might be comparable.

I have been using this Mic since the mid 90s!!! It’s pretty much the ONLY MIC THAT I’LL EVER USE!!! The features are simply TOP SHELF!!! I f any of you reading this is looking for a Quality Mic. And don’t want Feedback or changing of the tone of your Voice, then THIS is the mic for you all!!! I HIGHLY RECOMEND IT TO EVERYONE I KNOW who has to Sing, and Play at the same time, as Well as anyone who moves around onstage a lot!!!.

The Crown CM-311 has been around awhile. It has been used by Garth Brooks, Janet Jackson and many other top performers. Why? it stays put on your face, sounds great and does a great job of rejecting sound from the sides and back.

There are numerous reviews of this mic’s performance that you can find online. When buying this mic used on ebay, know that it is a well constructed device that is hard to break or damage, although the frame must be bent (or re-bent, if used) to fit your head.

Beyond that, keep the following in mind: (1) There are several different models of this mic and variations of the same model depending on year of manufacture. The main two models are the wired CM-311A and the wireless CM-311AE.

The CM-311A has a beltback which houses the 9V battery and accepts a standard female XLR plug. While it is certainly possible to use the CM-311A wireless (use a short cord with female XLR to whatever plug your wireless beltpack transmitter uses), this model really is for stationary performers like drummers, keyboardists or anyone that can deal with being tethered by a mic cord.

If you need a wireless solution, get the CM-311AE. This model doesn’t have the large battery pack – instead there is a small inline box that connects the mic to whatever connector your wireless transmitter uses, and the mic gets its it power directly from your wireless transmitter.

If buying this mic used, make sure you contact the seller and verify which model you’re buying! The one I bought was described as the CM-311AESH and the post pictured the CM-311A. I was in a position to use either model, but it’s best to find out for sure what you’re buying.

(2) While a sturdy unit, this mic does have 2 “expendables” that you should be aware of. First, the mic uses a detachable foam windscreen that is meant to touch your mouth. It may or may not come with a used mic, but you’ll need it, and for sanitary reasons I’d recommend getting a new one.

It’s discontinued part # WS-6 (available from Sam Ash for around $8) or current part # M45887-3 (available from Full Compass for around $13). The other expendable is the foam “cheek pad”, part # D8399-4, (available from Full Compass for $1.

68), but you can easily make your own, if missing, from rigid foam. The headband is definitely uncomfortable without it. Other parts that most likely won’t need replacing (like the metal windscreen grilles) are also available from Full Compass.

Just search their site for “crown parts”. (3) Lastly, given it’s shape and expense, this mic really needs a carrying case. If the original is missing (as was the case with the one I bought), it will cost you over $52 to replace it (Full Compass, part # 125127-1).

The complete unit needs a case with at least 7″ x 7″ x 2. 5″ interior space to fit. I know there are other headworn mics out there that are lighter and less cosmetically obtrusive, but if you need to stick your face into a live monitor or as a singing drummer need the sound of your drums rejected, this IMHO is still the mic to get.

I use this to amplify my voice over 90 Middle School chorus students so I don’t have to strain my own singing voice daily. With a little EQ applied, it’s a perfectly clear sounding mic with a rugged feel and few feedback issues, even when standing in front of the speakers.

I wouldn’t use it for singing live, but for sound reinforcement, it’s exactly what I need and no more. The headset is comfortable enough for the 45 minutes I see the class daily, but it is a small relief to take it off.

I’d much rather have too tight than not tight enough.

We use the Audio Technica Wireless Products with great results. the beltpacks and base stations work great. THe higher priced units run on AA batteries so one can get a NiMh charger and a pack of rechargable AA’s from Wally world and run for forever w/o buying those stupid 9v batteries.

Only one issue with Audio Technica is the connectors they use for the Mic’s suck. According to the techs, they are designed to wiggle a little. However over time they just don’t make good contact. Thus you end up tossing the headset or soldering on another connector.

Or after awhile you have to send the beltpack back for a repair on that mic connector. The style Telex uses are 100% better. They would be wise to go back to that generic connector.

For years I tried to play drums and sing into a vocal microphone attached to a boom. Somehow it was always in the way. This is the answer to my prayer. Sounds awesome! No battery packs to hook up, no converters.

Plug in XLR and go. Perfect.

some clip-on microphones available (for reasonable money) are either too fragile, not moisture proof, or not entirely compatible with my Shure wireless system for my cornet/trumpet/flugelhorn application.

Mike necks are typically too flimsy. Major problems also occur at the clamp site ( loose grip, change of microphone angle while playing, etc. ). A minimal and easy modification (clipping off the two wires just below the junction box) and using strong, metal, 1 inch wide spring loaded paperclip that clamps the bell rim and the junction box firmly together seems to work perfectly.

Minimal mechanical tapping sound transfer (from valve mechanisms) can me muffled by using thin piece of high density foam wrapped around the bell rim- to isolate the clamp and the junction box making direct contact with the bell.

Great quality sound reproduction, esp. in the low range. Generally a pleasant surprise – the quality of sound is excellent considering that the mike is not dedicated to this application.

I am beyond disappointed in this product. I have bought about 5 in the past 2 years. All works fine for about a month or two and then either the mic or bodypack will all of a sudden either 1) stop working 2) make horrible scratchy noises or 3) make no sound when speaking into it.

They say it’s for fitness – and its design is great. But we maybe use it for 2-4 hours a day MAX for fitness classes, put it ina belt, even unplug it to air it out, take great care of it, replace batteries.

and it dies. RESEARCH ANOTHER ITEM before investing in this set! I haven’t boughten a new entire system because I bought this whole system (3 piece set) and didn’t want to invest in something else, I figured this was a 1-2 time fluke.

But now i’m on about number 6. in 2 years.

I’ve used my Shurt microphone for nearly five years and love it more every day. I bought it so it was easy to replace the headset when I needed to instead of having to send the whole unit in for repairs or refurbishing.

Simple, fast shipping, perfect match, great product.

Audio And Recording Quality Is Superb With No Noise. The sound is perfect. The HS2 is lightweight, comfortable fit, low self-noise, minimal appearance, user-friendly and that makes it an ideal microphone for film, television, video, theater, house of worship and live vocal performance applications.

I suggest this Headset Microphone for the best outcome.

I bought this after seeing it used on a TV show. I am using it with the Rode Filmmaker Kit and it is providing very high quality sound. Mechanically the unit is robust and comfortable to wear for extended periods.

Requires phantom power supply to operate. If you need a cheaper mic that can be plugged directly to a sound card then the Rode Smart Lav+ provides a similar sound quality.

ALL MY MICS. HAVE BEEN “RODE” THEY HAVE NEVER LET ME DOWN, THE SAME FOR HS2 HEADSET MICROPHONE. A VERY PROFESSIONALLY MADE ADDITION TO MY COLLECTION. AT FIRST I HAD TO KEEP CHECKING THAT IT WAS STILL THERE,SO COMFORTABLE.

THE REPRODUCTION OF THE MIC. IS FAULTLESS. PEACE OF MIND WITH “RODES” GUARANTEE GOOD PURCHASE WELL PLEASED. THANKS “RODES”.

TraduciMostra in lingua originaleI chair meetings of the residents of the senior residence in which we live, and am not an experienced mic user. I love the freedom and assurance of using a sturdy head mic! And finally, almost everyone can hear! (Those that can’t, can’t be helped by any mic.

) I bought the mic myself, and no one still here knows anything about the sound system, but the transmitter I found was labelled Shure so I went to the Shure website. Exploring it was a bit tricky for a sound novice, but with Google’s help I was ultimately able to figure out what kind of mic I wanted, and be sure I would get the connector I needed.

Putting it to work was very easy. Obviously, I’m rather proud of myself. I only wish the wire and transmitter were easier for me to wear.

TraduciMostra in lingua originaleSounds great. Lightweight. Stays put. Let’s me move around. Only complaint is that the foam windscreens wear out from fooling with it during gigs. Found a 12 pack of new foam windscreens for cheap.

I loved it so much I bought the more expensive, durable version the PGA. I prefer the cheaper one. Sounds just as good and is more comfortable.

TraduciMostra in lingua originaleSound quality is very good, beyond what I expected for value vs. price. I am using it for flute as the saxophone clip-on can’t be applied. It works with my current Shure belt clip transmitter.

I will need to get used to the way the wire falls down the side of my face from the headband, but that may be that I am wearing it incorrectly. I only had one opportunity to use it so far. I imagine it needs to be tucked behind my ear, and, there is the way one holds a flute while playing that adds to the slight awkwardness.

Ideally, having one with its own transmitter would be best but much more pricey I‘m sure. I great value for me as I don’t play much flute as a saxophonist to warrant that much of an investment.

I purchased this mic to replace the condenser mic that came with my wireless system. As a singing drummer, the condenser mics were omnidirectional and picked up way too much of the drums. The WH20TQG fits well, and there is far less drum bleed.

A good choice.

Overall good unit, Shure always has good quality gear. Pay very close attention to model number, there are at least three different models, I wanted an XLR, got the mini jack one (NP, just some solder and an XLRF end) the other stores were sold out of the XLR version was so happy to find it I didn’t pay attention! They would have no questions asked taken it back, but I know how to solder, so NBD! I use it for practice (in ear monitors strongly suggested) and for events, as I am lousy about staying put in front of a mic.

get a switch, (I rout the cable through my custom guitar strap, right at the connector I inserted a on/off switch, {you definably want to be able to turn it off} and with the switch a 150ohm hum canceler, that I am pretty sure I don’t need, but its better not to need than to ruin the sound!) The sound is a bit tinny, as expected with small cardiod, but not overly so, for a rock band guitar slinger/vocalist it sounds great on stage!.

I am a fitness instructor and this is my favorite mic to use! I’ve tried others, but none fit and stay on my head the entire class. This one is adjustable to fit any head! Just bend the wire to adjust it! For the price it is DEFINITLY worth the buy!! I use this mic 7+ times a week and sweat like crazy and have had it a year and a half, however just recently I noticed it had some sound issues.

I purchased the additional warranty and they are reimbursing me the full cost of the mic, no questions asked! So I am purchasing the EXACT same mic again with the warranty!!.

This is very useful because it adapts to the transmitter/battery power packs of a number of different brands. I have another Samson mini microphone headset, which I like very much. They are practically invisible when worn, they pick up your voice easily, and transmit the sound to the receiver from a great distance.

The sound quality is crystal clear. I particularly like the carrying case making it convenient to transport the unit to whatever gig you’re playing. The wire could be just a tad thicker to enhance the durability.

We use this microphone with the Audio-Technica System 10 (ATW-1101) for our pastor’s microphone. It works extremely well. Whether our pastor is speaking, preaching or singing this microphone provides for crisp clear audio.

Plus, it comes with several adapters allowing it to be used with multiple systems. It is well worth the price. I highly recommend this microphone.

If you are familiar with the SE10 by Samson, the SE50 is the step-up in quality. The SE50 boasts better sound, but the familiar design of the SE10–compact, lightweight, and comes with all the accessories (several windscreens, adapters to fit most wireless systems, and a protective case).

As with the SE10, the SE50 has replacement cables easily available if needed. Gerald @ Sam Ash Cincinnati.

I got this mic after doing comparisons between a whole lot of headset mics including the following: DPA4066 TG-H54C beyer HSP4 sennheiser Shure WCM16 HC444 tonebone HS70T line 6 Tbone HC95 Countryman E6 by Shure WH20 and WH 30 by Shure DPA4065 and DPA 4088 Shure beta 54 Roland DRhs5 In terms of performance and sound quality All the DPA mics I tested were utterly amazing and as good as it gets for headset mics, but they were a little outside of my price bracket.

Comparing them to the AKG C520 they sounded slightly less coloured, very natural, but the AKC held up very well against them in terms of sound quality, maybe a slightly fatter sound on the AKG. All of the Shure mics I tested sounded much thinner and scratchier than the AKG C520, they didn’t have that rich warm sound I was after for my vocals.

So they were out pretty much from start. The Sennheiser and Beyer were nice mics, and had great sound, and compared favourably to the AKG. I could have chosen one of these but I liked the characteristics of the AKG a little more in terms of the way it suited my voice.

But it was pretty close to be honest. The Tbone, Roland and Line 6 mics just didn’t measure up to the AKG sound quality in my opinion, the line 6 was very thin sounding, the tbone very poppy and the Roland didn’t have the same clarity as the AKG.

I also compared the AKG to an SM58 and the AKG blew the SM58 out of the water in terms of sound, I was pretty amazed and didn’t expect that. The AKG had a much smoother rounder sound to my ears. So overall the AKG C520 is an amazingly high quality mic and especially at the price it’s listed it was a great buy, no regrets.

It’s well built, easy to put on and very stable once it’s on, and I find it comfortable as far as head set mics go. It uses phantom power from a standard mixer i. e. 48 volts and even has a low cut filter which I found necessary as it’s low frequencies extends right down, and without the filter you get a few pops when singing.

It suits the male voice perfectly for Rock /Pop /Folk /Blues, and sounds like a much more expensive mic. I compared it with a Beezneez studio valve mic I use which is 10 times more expensive than the AKG and ok the valve mic brought out every nuance of my voice, but the AKG wasn’t far behind and sounded almost as good with a little tweaking of EQ.

With one exception; you need to be careful with overloading of your preamp with plosives with the AKG, it can really pop if you have it too close to your mouth. The Valve mic overloads more gracefully and doesn’t have this problem.

But I guess all headset mics suffer from pops to a lesser or greater degree because they’re so close, and the proximity effect exacerbates this. I found pushing the mic slightly to the side so it wasn’t infront of my mouth eliminated the plosive problem and it then sounded great.

In terms of side pickup of acoustic guitar while I was playing and singing, The mic attenuated the guitar by about -20dB, which still made it audible, and wasn’t as good in this respect as some of the hypercardioid mics out there like some of the Shures.

But in saying this, the AKG had a much better sound with it’s cardioid pattern. The other great thing about this mic is it has a standard XLR with 3 metre cable, no messing around with adaptors etc, just plugin to a mixer or preamp and your set to go, or it does also come as an AKG C520 L which is better suited for wireless adapters as it has a different plug, I didn’t need this.

I wanted to review this mic once I got it because I didn’t read many reviews about it online and ended up spending a lot of time working out which mic to get. So I thought people might find this useful.

Over all I find the AKG C520 is an amazingly good mic for the price and matches mics 2 or 3 times the price from the comparisons I made. Hope people find this useful. Cheers :).

This is my second CM311 MiniXLR. I have the AKG Transmitter and Receiver for this microphone and I have had my old one for four years and just bought this new one this month. I sent my old one into AKG to have them go through it and it has taken a lot of road abuse.

I baby these microphones and it has to be in your DNA if you want them to last. They are the best mic sound wise but they can be fragile unlike an SM58 that you can drop. I wouldn’t recommend that with this mic.

I have special cases made out of foam to house them in my rack drawers in my bass rack. But you will never find a headset mic that sounds as good as this mic. I would recommend it every time!! You just have to take good care of it.

I have been using performance head worn microphones and wireless systems for nearly 40 years, as a RocknRoll Roll singer / guitarist. I started with Trantec as I knew the designer Steve Baker, and these were excellent systems which used Audio Technica AT75 mics.

which are excellent but the headband is not comfortable as standard and I had to modify it. I have also used Sennheiser, again top kit, but overall for comfort, road reliability and good overall functionality the Shure head worn mic.

gets my vote. I have only had to replace these twice over the past 20 years despite sweat, spit and getting knocked about. The one issue with all these mics. is sweat getting into the cable casing and causing corrosion, making cable movement noisy and eventually failure.

That said, not everyone works as hard on stage, but that is what they are designed for, so all of them could use higher quality cables.

As a drummer who sings and gigs regularly in a variety of venues including bars, this has not only improved our sound but saved my teeth from falling drunkards. This does require phantom power however and this, so far, has eliminated a lot of possible mute options for this headset, the ideal for me is a footswitch, I can’t find anything that doesn’t pop when activated.

The lack of a dedicated mute switch on this device has been a nuisance, it’s literally attached to your head, but this is not a deal-breaker. I tend to bend the mic away to avoid the potential ASMR with my breathing in between songs, but I also sit beside our mixing desk to quickly mute it.

I bought this with the Detachable XLR RPM400TQG phantom power adapter, which has been a complete letdown, that part is not at all durable. I would recommend the dedicated XLR version if you can. Overall, a fantastic product, with great sound! Let down by not being able to mute it live and poor connection accessories.

I had the SM35 and was ready to move to a “much better” head-worn mic to use with my Shure SLX-D system. I did my research and tried the Countryman and the very expensive DPA-Core alternatives. Both of them, even when configured in cardioid and hyper-cardioid, failed the feedback test.

Horrible. I use the mic for vocals and my stage monitor (set at normal gain) could not be used. Terrible with the alternative mic choices. I was willing to spend several hundred dollars more for a “better” mic.

However, I went back to the SM-35 and couldn’t be happier. Outstanding feedback rejection, clear vocals, sturdy build. Have been using on many gigs for months and am completely satisfied. Full disclosure: the fit may have to be customized to your head and comfort.

I wrapped velcro tape around the back to make the fit tighter. Other than that, I highly recommend this mic for on-stage vocals with monitors.

We use this headset mic for live in-person podcasting and so far the sound has been good, comparable to SM58, but a bit thinner/less full sounding. The metal components makes the headset sturdy. Only small factor that would be better is an extra 1 to 2 feet in cabling with the XLR option.

Otherwise, I will likely be buying more. #sweepstakes.

I’m new to headset mics. So it took some acclimation time before all was good. I attribute that to my noob status. How to position it on my head, where the cord should go, bending the mic-neck to the best position and distance from my mouth, et al.

Now that I’ve used it in a few rehearsals, it feels more natural each time. It’s going to be great to be able to move around on stage more than ever before because of this mic!.

The croaky back head strap is adjustable for tension and provides an excellent secure and comfortable hold for dynamic use. I am using it to background sing while playing the drums. Even comparing it to my sm58 this mic is quite acceptable and offers impressive sound delivery and sweat protection for such a small cartridge.

I wish they offered an SM 35 version like this with the croakie and The Sweat Protection but that product line caters to the lead singers who don’t sweat but is a slightly better mic. I believe the $300 Michael Jackson version does it all but was way out of my price range.

XLR connector has a solid clip for the belt and the cord has a lapel clip for the shirt This one is quite good and could be used for lead.

I have purchased and used six of these mics over the course of two years. They are used once a year for a large two hour Easter Drama. I have replace one due to the microphone loosing all the low end and making the actor sound like a cartoon.

I have also had to put heat shrink tubing on the wire casing right at the connection to the body pack as the casing will pull apart exposing the bare wire within. I noticed this on two of the six I had and shrink tubed all of them to prevent this from occurring.

If you have the tubing and heat gun, this is a relatively easy and cheap process. I had neither on hand and got all I needed from Harbor Freight for under $$. If you have the budget, get the nicer Countryman.

I would buy these again but always have a spare on hand. Mike C. Audio Engineer, 8+ Years.

The SE10 is a great, low-profile headset mic that will work with any existing wireless system you have. It sounds great whether you are doing spoken-word or actual singing. It comes with several different adapters so it will work with all the ‘big-name’ brands of wireless systems, so if you have a wireless system that has a broken (or poor-quality) mic, the SE10 will get you up and running.

The mic also comes with several wind screens and a storage case to keep it safe. Also, replacement cables (because all headest mics are delicate) are easily available. Gerald @ Sam Ash Cincinnati.

Hands are expressive, so why lock one down holding a mic!? If you are a fitness expert, this is even more critical! This is a great solution for the active expressive types. What’s more, it fits into a variety of other brands’ transmitters, such as Shure.

You gotta love the value, where the quality you get here for the price, even though it is targeting higher tiers. It gives other brands a run for its money, not your money!.

I have used and still use the Worlds best microphones available. But I had a chance to heat this Audio Technica ATM450 in a ‘live’ situation and was totally blown away by the crispness and tonality of this small condenser mic.

Moreso, I purchased 2 almost immediately. the sonud is musically crisp and pleasing to the ear (this analogy was based using the ATM450 as a HiHat and Overhead mic). I now have two in my ‘live’ mic arsenal of go to microphones.

I wl probably purchase a third so I can have one also permantently on the HiHat. Of course there are other mics, it all comes down to personal preference, but after many years of recording and ‘live’ sound, I think I am pretty qulaified to reccomend a great mic when I hear one.

You certainly will not be dissapointed. Would I reccomend? 100%.

It stays in place while moving around. Doesn’t need taped to face. Pastor has only been using this mic for about 3 weeks but he likes it much better than the last one that fit over his ear; it moved too much.

Make sure you get the correct connection type that your body pack takes and you should be good to go!.

So it has been a little while since I first reviewed this microphone, I thought I’d do a quick follow up. To my surprise, I see this microphone all the time. If you watch any of Alan Parson’s video’s on the Art and Science of Sound you’ll likely see this on guitar and piano.

I was just watching a KCET music program with the real Mr. Ayers, (movie The Soloist) where they recorded piano using these. There are tons of examples I could give of seeing these wherever I go. I believe these will soon be a staple in most home and semi-professional recording studios.

This mic is extremely great in certain tasks, and absolutely terrible in others, which I believe is the sign of a good mic. Its not a swiss-army-mic like a KSM44 or C414, but it will give you a nice crisp sound to balance out your recordings.

Its a very low profile mic design so it wont get in your way. I have done a few drum sessions using this mic, and while I still only have the one so toms werent a possibility, I had amazing results on the snare, both top and bottom, above the hats about 8 inches away, and to my utter surprise.

the kick. Not for low end, but definition, great to get a beater sound. I’ve used this as a room mic a couple times, but soon gave up on that and went back to a larger diaphragm with omni. I got great results for mandolin, not so great for banjo.

Not amazing on amps. Terrible on vocals of course. Okay on violin, although a little shrill. Good on percussion that has a skin, bongos, congas, etc. I have not tried this as an overhead, waiting to get another one for that.

I would imagine that it would be a pretty good overhead though. So that’s my completely subjective follow up that stems from my own use with this mic. You might have completely different experiences with it.

But I still highly encourage you to get atleast one. Its a good thing to have in your tool kit, especially for the price.

Users are clergy who objected to the noise created with a lapel mic rubbing against their vestments. The ear piece was their only objection in getting it to fit securely. They no longer use the lapel mic and are happy with the sound quality of this mic that is excellent for both spoken and sung voice.

I was concerned about buying a mic that would sound cheap. This one gives excellent sound quality! An advantage of this model over some it’s cheaper competitors, is that it includes a detachable, screw-on cord from the earpiece to the transmitter pack.

If the mic starts to give you problems, you can easily figure out if the problem is in the microphone or the cord. It came in a nice storage box too, if you will be packing it up after each use.

I’m our church’s sound guy. Our new pastor was looking for something that would be similar to the Shure microphone he was used to using at his last church. This one did the trick! Great product, was exactly what we were looking for! High quality and a lot less than other brands.

I have used these microphones for years in our theater. We have had no issues, and the sound quality is exceptional. The cords are more robust than other brands and can really stand up to the abuse live theatrics can put on equipment.

Thanks for the excellent product.

The sound quality from this headset is superb. A good quality Condenser mic that works great with a separate transmitter pack. Only draw back is that the ear loops are not adjustable so it tends to move around unless you tape it.

In my quest for the optimal headset mic for an energic R & R drummer, I have learned that there are slim pickings on good ones and that none are perfect. I have tried and owned several, including a couple of AKG models and the popular Crown unit, and, while some of these have performed reasonably well, they all suffer from some design flaw or performance characteristic (or two) that makes for some disappointment and leaves me wondering why no one can get it quite right.

I purchased the Crown model, but sent it back after a week of trying to adapt. The mic itself sounds very good, although perhaps a little too bright, and the rejection of extraneous noise was as good as they claim.

But the unit is relatively bulky compared to others, and the boom is a large U-shaped structure that is somewhat heavier than on other headset mics and tends to wobble quite a bit when you’re really whacking on your skins.

Also, the lock screw that hold the boom in place is susceptible to loosening during a performance, and I found I had to frequently check the tightness and make adjustments. I won’t go on about the other mics I tried or scoped out, but they all have some features that left me wanting.

Ultimately, the Shure Beta 54 won out. It is a light weight unit with a tight fit that hold it firmly in place, and the mic really sounds great. The boom pivots and swivels with ease, and so far, after several months of use), there has been no slippage in the boom clasp or other signs of wear.

The ear loops fit snuggly and are made of apparently inperverious wire that looks like it will hold up for years to come. Placement of the mic takes some getting used to, due to it’s smaller size and tight fit, but I’ve come to appreciate that this is truly a desirable feature.

However, like I said, there are no perfect models for the energic drummer, and this one is no exception. First, it requires phantom power (not a problem if that is readily available), and it doesn’t have an on/off switch.

The latter is such an obviously desirable feature, I find myself pondering why the designers left that out, but I can get around this problem simply by pushing or rotating the boom to move the mic away from my mouth.

Despite that, when you go on break during a gig, it sits there on your set as a live mic, and makes all sorts of crackling noise when putting it back on your head. Also, the foam ball (windscreen) clicks in and out of position quite easily, but a little too easily, such that it is vunerable to being knocked off and rolling under your set.

A little glue will fix this problem as well, but it just seems like such an obvious defect. On the other hand, droping the ball has made for a couple of good jokes at gigs, but I’m sure this will get old after awhile.

Overall, its the best I’ve found.