dynamic or condensor mic ?

the sm58 is a great mic, it's something you'll be able to use forever. it works very well for certain male voices. i find, however, that its sound improves greatly with the quality of the preamp, and it may disappoint w/ cheap pre's.

don't let anyone tell you condensers are "better"; the kind of mic you use in a certain situation depends on how a given mic sounds on a given source in a given situation.

that said, you'll want to pick up one eventually, but i'd save up and get a better condenser (like the shure ksm32), rather than one of the cheaper ones.

in the meantime, though, you'll have a great, versatile mic w/ the sm58.

 

the sm58 will still be a good mic, but it won't "be everything it can be" with that pre.

i understand not wanting to spend money, and if it puts your mind at ease: i consider good pre's to start in the $1000/channel range.

 

A FOH Engineer's perspective:

SM58's sound terribly terribly muddy, virtually no feedback rejection, and they wear out quickly over time. They have always, and will always cost $99.

My preference for a dynamic microphone is the Electrovoice N/D767, this microphone competes with the 'Higher End' Shure Beta 58 microphones, sounds better, is more durable, and much more affordable. $129.99!!!
Warm-grip to reduce handling noise, excels with feedback rejection, hotter output than a 58 (less noise, feedback, etc..) what more does a guy need?

Like the 58, comes in wired and wireless.

 

but who cares about feedback rejection in the studio?

unless you're bono, who records in the control room. but: he uses an sm58.

 

Difference between Condenser and Dynamic Microphones in english?

According to Kingdom.com,

"Question: "What's the difference between dynamic, condenser, and phantom powered mics?"

Answer: There are many ways to translate sound into electrical energy. For a voice, whether singing or speaking, the source must be captured for amplification through a sound system by use of a microphone.

Like other input devices, signal travels from the microphone through a cable, into the mixer, through any processing equipment being used, and finally out through the amplifiers and loudspeakers.

To more effectively tailor a voice to the sound you want, numerous considerations must be made, starting with the selection of the microphone.

Some low-cost microphones use crystals, ceramic, or carbon elements that are OK for speech, but not seriously considered for music or "critical sound" reproduction.

Most high quality microphones are either Dynamic or Condenser types.
Dynamic Mics are usually hand-held or stand mounted and have a greater resistance to feedback, but lower total sensitivity that makes them sound "warm". They are also known for their ruggedness and high level output.

Condenser Mics are found in nearly all forms (hand-held, bodyworn, etc.) and are known for much higher sensitivity for excellent pickup (even at the distance required by hanging choir mics) and higher SPL (Sound Pressure Level) limits, although this makes them vulnerable to feedback.

Condenser microphones can be made very small (inconspicuous) without uncompromising performance. Condenser mics have low handling noise, and their extended frequency response provides a crisp, more accurate reproduction of sound.

But condenser mics, which use a diaphragm and a fixed plate paired as opposite sides if a capacitor, require an electrical charge to become "active". This can be done with what sound engineers call "phantom power."

Phantom Power is a DC (Direct Current) electrical charge required by condenser microphones.

While Dynamic microphones use a diaphragm and wire coil to generate audio signal (like a loundspeaker in reverse), condenser mics use two thin "plates", one moving and the other stationary. To get a signal from the mic, an electrical charge must activate the fixed plate (and other internal electronics like a preamp). Most condenser mics need only a small voltage for this, so batteries became a popular solution. But rather than risk battery failure, the same power can be supplied from an external source.

Then engineers discovered that they could deliver this low voltage along the same cable that was carrying audio signal back from the microphone. So equipment makers began making it a feature on other components- most often the mixer. Now, most mixers have a switchable (On/Off) phantom power feature.

If you're using or thinking of using condenser mics for any of your applications, simply turn your mixer's phantom power switch "on."

Phantom power can range from 12 to 48 volts. Phantom powered microphones simply draw what they need. However, you should note that phantom power voltage can be damaging to non-phantom powered microphones. So be cautious not to connect them to a mixer that has the phantom power on."

 

Actually, that is something that matters. Less bleed, more controlled pickup pattern.

I think Bono is a little smarter/richer to intentionally chose a 58 over a Beta 58 or Beta 86, or an EV RE410/510.

 

why?

 

As a Professional audio company we use this mic ALL THE TIME whenever we are not using the wireless Beta 58 I have never heard of the problems you speak of I say it is a great mic and you can't go wrong with it