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The MS58 MK2, is the successor to the incredibly popular MS58 and is trying to make things even better to get even closer to its role model; the legendary Shure SM58. Through cost-optimized production processes and modern manufacturing techniques, Fame Audio is also able to offer the new MS 58 MKII at a fantastically low price.
Just like the predecessor model, the MS58 MK2 from Fame audio impresses with its longevity and reliability. Virtually indestructible, the MS58 is made for life on the road and rough abuse on stage.
The Fame audio MS58 MK2 delivers a professional audio performance and powerful vocal sound. It does not matter whether the microphone is used as a lead, background or voice microphone, since the warm and clear sound always asserts itself in the mix! Whether a singer with a masculine or feminine voice, the dynamic MS 58 MKII always makes a great impression in the practice room, on stage, as well as in the studio. A wide frequency response of 50Hz - 14kHz gives each voice a lot of air up and down.
"Assertive" is also the key word here as feedback problems are a thing of the past, thanks to its cardioid characteristics. Background noise is greatly reduced, while the integrated, suspended vibration absorber minimizes handling noise very efficiently. The robust microphone capsule and the rugged housing optimally protect the interior from the stresses of being on tour.
Another feature that should not be overlooked is the compatibility with Shure's replacement cartridge. This can be easily screwed on to the thread of the MS58 MK2, but of course FAME audio offers its own variant. A suitable clamp is also included.
Dynamic Vocal microphone
Optimized frequency response for vocals and speech
Characteristics: Cardioid, omnidirectional
Frequency range: 50 Hz – 14 kHz
Sensitivity: -76dB ±3dB (0dB=1V/Pa @ 1kHz)
Impedance: 600Ω±30% @ 1kHz
Incl. microphone clamp
Manufactured by:
Fame Audio MS 58 MKII dynamic VocalmicrophoneAs it comes, this is a bad microphone, but with a fairly decent microphone inside waiting to get out. For some reason it comes from the factory with pins 1 and 2 connected, so it works in an unbalanced manner and so will short out any phantom power being supplied. This shouldn't be a problem for most mixing desks but there will be some desks where this causes issues.
There should also be an internal link from pin 1 (ground) to the metal tab connecting to the XLR locating screw. On my mic, this link was there but hadn't been soldered to the tab, so the casing remained ungrounded. The combination of unbalanced operation and the ungrounded casing resulted in a very, very high level of noise present on the signal.
The unbalanced operation meant that the output signal was over 7dB less than a Shure SM58 I used for a comparison test. The mic sounded awful.
So I unsoldered the mic XLR connections, and cleaned them up (as the soldering wasn't good), connected pin 1 to the metal tab for the screw, connected the black wire to pin 2 and the red wire to pin 3 (you would normally expect the opposite but this way gives a positive signal for positive pressure on the diaphragm).
Putting the mic back together and plugging it in, the mic now had an output signal comparable with that of an SM58, the noise had gone and the sound was now pretty similar to an SM58.
It has a brighter, peakier top end than an SM58, with a significant dip in output between 4.5kHz and 6.5kHz, so is definitely a character mic, which will suit some people and not others. Low frequency plosives are picked up in a similar manner to the SM58, but the Fame has a lot more sibilance, so some high frequency taming at the mixing desk is recommended.
Once converted to balanced operation (which also makes it phantom power compatible, even though it doesn't use it), the mic is certainly a reasonable performer for the money. You'll need a 2.5mm flat blade screwdriver to screw in the locking screw (don't try to screw it out as it won't) enough so that you can then push the XLR mount up through the body (after unscrewing the lower part of the body first) to gain access to the XLR terminals.
I fail to understand why the mic comes from the factory wired for unbalanced operation as it's so simple to do and requires one less item to solder.
So I would say don't buy one unless you are prepared to take it apart and convert it to balanced operation.
