by Katie Karch
The MIPRO MM-58 is a new cardioid microphone designed for professional stage performances, speeches, and live events, primarily for vocals. I was recently sent two units for evaluation, which proved to be an informative and interesting process.
At the heart of the MM-58 is the MU-581D capsule, engineered to provide high-frequency response that enhances vocal brightness. The optimized frequency response and high dynamic range are intended to accurately capture richer vocal details, preserving the natural tonal quality of the speaker or singer.
MIPRO’s patented composite anti-shock suspension improves shock absorption, helping to effectively isolate handling noise. The MM-58 has a precision-crafted NC-machined metal body designed to provide durability, joined by a high-rigidity multi-layer metal mesh structure that’s also designed to suppress feedback.
Additionally, the integrated metal mesh pop filter reduces breath and wind noise while being easy to detach and clean. The microphone is equipped with an independent on/off switch.
I enlisted Alex Kramer, a very talented singer/guitarist that I regularly work with in my home base of Nashville, to team up with me on this evaluation. As noted at the outset, MIPRO supplied two microphones for this review, each in their own sturdy cardboard box.
The mics came with matching clips, which fit them well, and they also each came with an XLR to 1/4-inch cable. I found that a bit odd, because I don’t often have a reason to use that type of cable, but I suppose it’s good to have a couple in my arsenal.
What I did find very useful was the enclosed data sheet, which had polar pattern and frequency response charts as well as information about the physical components of the microphones.
My first impression was that the zinc alloy housing (thanks, data sheet!) makes the mic feel substantial. There’s no doubt in my mind that it can stand up to being thrown around on the road.
While I like a bit of heft on my mics, this one weighs about 60 grams more (393 g) than other comparable mics I regularly utilize, such as the Shure SM58 and Sennheiser e835 (each 330 g). It may not seem like much, but for long performances it could become a bit cumbersome to hold.
That extra weight can be found in the capsule housing. The capsule is suspended inside the windscreen, and there is a second, larger windscreen that covers that. This design reduces both handling and ambient noise.
Continuing The Process
We also discovered a secondary benefit to this design, which was that it naturally tames many of the plosives and dynamic swings in the vocal performance. Alex is a very dynamic performer, so he was pleased that his monitor mix was more even throughout the night while I was very happy to be able to let up on the compressor on the vocal channel going to the house.
“I really like this mic,” he simply told me. “I think it sounds great!”
Ambient noise from the cymbals, which were located directly behind Alex, was also reduced, which made my mix cleaner and my overall SPL a smidge lower. I consider it a huge win any time I can reduce stage bleed in any mic, especially in a small space.
The MM-58 also has an on/off switch. My take is that switched mics are excellent for stage and FOH talkback applications. However, I think the switch is simply an unnecessary potential point of failure when used for live performances.
The switch on the MM-58 does have a locking screw, which tightened up very well. I still put a piece of gaff tape over it, just to make sure no one accidentally fiddled with it. Considering how much I liked the other features of this mic, especially for the very energetic Mr. Kramer, I'd love to see a version without a switch.
OK, but how did it sound? Exactly what I expected a quality, professional-caliber microphone to sound like. The MM-58 didn’t have any glaring issues or over-the-top qualities when it came to sound reproduction.
The manufacturer supplied a frequency response chart offering four measurements: on-axis, 90 degrees, 100 degrees, and 135 degrees off-axis. In practice, I found that the chart was pretty accurate, and my EQ cuts aligned with the information supplied. Even when Alex went off-axis, as many performers do, intelligibility was maintained.
I haven’t had a chance to try the MM-58 on anything other than vocals, but I think it would do well in any place one might normally use an SM58. The double windscreen design not only puts more material between the sound source and the diaphragm, it also adds a bit more space, which can help tame transients. I’d love to hear how it handles a snare drum.
Overall, I recommend this mic for vocalists with a lot of dynamic range to their voices, and who maybe have a tendency to “eat” the mic. And I hope to see a switchless version one day.
BIO: Katie Karch is a Nashville-based veteran freelance audio engineer (FOH/MON/RF) who works a wide range of live events.
