Do not get trapped in the rut of thinking mics can "Only" be used for certain things. The only exception I can think of is using a Ribbon mic on a high SPL item, such as a guitar amp or kick drum. The high transients will blow the ribbon out, and they are expensive to replace.
I agree that the SM57/58 are good for vocals but for most vocalists I wouldn't consider it a first choice. I have a 58 lying around but always reach for a LD condenser first because 9/10 times it will sound more detailed and flattering to the human voice. The popularity with the 58 is mainly as a live mic...perhaps some singers use it in the studio because it's what they're comfortable with.
Exactly why that mic is often the one the best performance comes from. Often times as an engineer, we make compromises between performance quality and recording quality. I'll take the best performance. Furthermore, the OP was asking for a multi purpose mic. 9/10 I wouldn't want someone without prior experience in front of a LD condensor. The intimidation factor of such mics can kill a noob's performance. Again, it's about making a vocalist "comfortable" so as to elicit the best performance.
LOL, you'll find more SM57's in a studio than you'll find ANY Behringer CRAP. Unless by studio you mean a basement room built around a washing machine and furnace.
If that were the case, then a lot more studios would be using dynamics to track vocals. It isn't that big of a deal for most vocalists to adjust...most people can refrain from touching the mic, getting too close to it, spitting into it, etc. Some people are better suited for dynamics, I'll agree...mostly for 'screaming' type rock vocals, or those who feel they have to hold the mic or put their lips against it.
Having spent the better part of two decades in recording studios, I can say, without equivocation, that SM58's are used far more than you give them credit for. Furthermore, there are far more scratch tracks, recorded with SM58's used as keeper tracks, especially with todays digital modeling software, that end up as keepers.
You may be right about that mic. I haven't had the chance to use it. I still stand by my recommendation for the 57/58 as a starting place for the OP. Given we are assuming what and how things are to be recorded, I went with what I know works in a majority of situations. Given a Condensor will require a Pre-amp with Phantom power, it seems as if it's the "More stuff" syndrome that is the ruination of many a studio / project.
Sorry but have you used any of the above mics? I have owned/used all of the above and found them to be good *for the price*. I'm not disputing that the Rode NT2 is a better mic than any of the above, but last I check it was selling for almost $350 and was discontinued.
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