That probably a good idea. Do you know if I can get a good warm and crisp sounding dynamic mic that doesn’t sound like there’s something covering it which I could use in front of my setup?
I’ve no particular reference, even if I’ve got many mics! I didn’t try / compared them, and someone gave me good ones recently. Tests needed !
Preamp / mixer with eq needed.
Try an Electro-Voice RE-20. They are widely used in broadcast and also by Thom Yorke in the ‘From the Basement’ recordings.
Retail at $399 but they are so common that they can be found much cheaper used.
I use a Sennheiser MD 441U which is essentially the same thing, and I get pretty good results.
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I wouldn’t say so… the 441 is a dual capsule mic of a very particular design. Not the RE20. They have a very different sound signature. Both are outstanding mics but quite HUGE, especially the RE20.
Many top quality vocal mics for live are condensers: Shure Beta 87, Neumann KMS series… the choice of hypercardiod vs cardioid depends on the monitor placement on stage. Cardioids are used when the singer’s monitor is place in front of his position, hypercardiods are preferred when there are two wedges at 45°. That’s why many stage vocal mics come in both flavors.
Warm and crisp dynamic, I think of the Beyer TG series, the Shure SM7b (hefty too, not really a stage mic either). Shure has a new design for it’s KSM8 mic that looks promising but I didn’t have the chance to try one out. A bit pricey though. There’s always the the Shure beta58 which is a bit morer defined than the SM58, and then there’s the Sennheiser e945. Best is to go to a store and try some out… some mics are outstanding on a particular voice, and suck on another singer.
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AFAIK the 441 is not dual capsule, it’s a fixed super-cardiod with a 5 position bass roll-off and brilliance switch. And yes, the RE-20 is really big, but the 441 isn’t much bigger than an SM57 or SM58.
Yes , you’re correct, I should have said “dual coil”.
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So how do you like the MD441-U? Sounds as good as a condenser? It is super cardioid and very feedback resistant so do you use it in front of your setup? This is what I’m looking for really. Otherwise I’m afraid it will not get used that much.
I’m also thinking that less could probably do it like the Sennheiser E945 which is also super cardioid. So maybe dynamic mics will work out fine for me if I get a good one.
Just wondering: do you have any experience at all with microphones and PA systems? It’s difficult to answer your questions without knowing what we can refer to. Because if this is your 1st ever vocal mic for stage use, just get a sm58 and you’ll be fine. This being said and to answer your question, the MD441U is a great versatile hi-quality mic but I didn’t like it on my voice for two reasons: my voice needs some more contour and even with the hi boost switch on the 441 the sound seemed a bit too flat for my taste: some mics litterally draw the sound out of your mouth, and some mics just faithfully pick up what it’s presented with and that’s the quality of the 441. Few singers actually used them on concert stage, but Stevie Nicks did with Fleetwood Mac and she sure knows what sound and live performance is all about. They were morer seen on TV shows in the late 60’s, and 70’s. The second reason is that I have, like many singers/guitar players, a tendency to sing really close to the mic, often touching it (I need that proximity effet to be happy) and the sharp edges of the MD441 are really unconfortable. It’s a stupid detail, but depending on your style, this can end up being annoying and you don’t want that doing performance. You need a decent preamp too, just like the SM7, it’s not a very hot mic.
EDIT:
Since I’m a sucker for quality gear
If budget is not a major issue issue, get a Neumann KSM105. Best condenser stage mic I’ve ever used. Solid investment.
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And don’t get fooled by “super-cardioid” and “hyper-cardioid” … that doesn’t mean; “better” and “even more better” at all! 
As I said in an earlier reply, it’s a technical choice that is dictated by the constraints you need to deal with, basically: where are the sources of the sound you DON’T want to pick up located, and what is the degree of movement of the actual sound-source you DO want to pick up.
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Thanks for your response roadmoviemusic. My question was actually meant for @AlmaxMere since it sounded like he had some experience with it but good to hear that you have that too. It will probably be crazy and unnecessary to spend that much and it sounds like it’s not really worth it. Sometimes I go a little crazy with these things and just want the best of the best 
I did mention my experience with mics earlier and my SE2200a is so far my reference but I have only been able to use it with headphones in front of my setup. I just tried again now without headphones and it does pick up a lot but I was able to use it quite fine with singing into Live. Adding a limiter completely clears the fear of loud feedback and it was great to play with some delay fx.
I think I’ll look for a good dynamic mic and keep my big condenser for recording with headphones.
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Like roadmoviemusic said, it’s great at not picking up what you don’t want to hear. So, no, it won’t be as crystal clear as a condenser, but I love it for just that reason.
I personally don’t mind the square shape, even though I basically eat the mic when I use it for that sweet proximity effect. It’s got a nice punch on it’s own so I barely have to use any compression.
As for feedback, it’s very tame. Low handling noise, and it won’t squeal at you unless you’re pointing it right at your speaker.
I also was lucky enough to get one from Germany for a really good price. I don’t think I’d spend the cash on it for retail.
I haven’t used a KSM105, but I’ve heard one used in an intimate venue, and it sounded incredible on the singer’s voice. If I were actually playing live sets, I’d probably go that route.
Well, I’m basically parroting everything that raodmoviemusic said. Get a good preamp, and grab an SM58 or SM57 (I prefer 57s because they are uni-directional, but that’s a personal choice).
It’s a absolute killer mic. If your voice is a big part of your artistry, it’s worth the expense. Tip: if ever you come across a used Sennheiser MKE4032, get it. It’s so close to the 105 that I suspect Sennheiser to have rebranded it (or at least used the design principles) after they took over the Neumann company.
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My recent fave combo is an SM58 running into a 1073 (clone) preamp. Good resistance to feedback and the neve makes the 58 sound pretty badass. I have tried better mikes in the past, but feedback has always been a problem, so my solution is to go “all in” on the preamp instead. Now, having said that, make sure you have a good low cut / HPF for the mic channel, cutting out excessive lowend helps minimize feedback immensely! Also a noise gate is a godsent for combatting feedback on stage.
I’ve found that just about every mic sounds good through a great mic preamp. So get a mic that has the technical characteristics that best suit the context (handling noise / proximity effect / off-axis coloration / directivity / sensitivity ) and pair it with your best pre. YMMV as usual though.
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You can’t go wrong with a 58!
I am thinking about this as it doesn’t need AC power like the ART
http://rolls.com/product/MP13
I have their mini mixer IV and it is quite good.
So do you guys think the condensers are more prone to feedback than dynamic mics or is that not really the case? I read that it’s more a matter of Gain Before Feedback which is lower on a condenser and that condensers have a louder output. You mentioned the KMS 105 (condenser) which I have been considering too. One reviewer liked the Beyerdynamic TG V96c better and I may be able to get it for less than the usual price. Any experience with this mic?
Isn’t a handheld condenser less prone to feedback than a large diaphragm condenser like the SE2200a II which is much more open in it’s construction?
is a budget mic designed for (home)studio use. A handheld condenser like the kms105 or the Beyerdynamic are high end mics made for the stage. Apples and oranges… If you’re fixed on that Beyer and can get it for a price that suits your budget, by all means go for it, you can’t go wrong at that level of quality. Personally I can’t give you any better advice: I don’t even know what music you’re into, what your voice is like, what the conditions of use are…
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https://www.dpamicrophones.com/mic-university/10-statements-on-condenser-microphones-vs-dynamic
good food for thought here
tldr “depends”
All in all I digg the DPA articles, lots of info
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Thanks, you guys have been very helpful!
I’ll let you know when I have decided what to get.
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So I decided to get a really good handheld condenser and went for the Earthworks SR40V. Surely not necessary but I really wanted a very good studio quality condenser with great feedback resistance so that it can be placed right in front of my monitors without having to use headphones. It is advertised as needing no or less EQing and this is important so I don’t have to deal with this in OT.
This mic is linear/natural and not boosted in the highs. So less flattery and also no need for de-essing. I haven’t compared it with many other mics except for the large diaphragm condenser SE Electronics 2200A Mk2 which sounds pretty harsh compared to the Earthworks and the SE really did pick up everything in the room (laptop fan, fridge hum…) The Earthworks just picks up my voice - clearly, and can go loud before feedback so this is excellent.
I have it connected to the Roland VT-4 preamp/Vocal FX processor which does natural sounding auto-tuning and I can apply high end boost (enhancing) if I wish. I am very happy with this setup.
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