Miktek’s T89 dynamic vocal microphone comes with a vinyl case and a stand clip. It follows a familiar physical format, offering a super-cardioid response and with a frequency range that extends right up to 19kHz. Its cast body and tough steel basket are finished in metallic grey, and the basket has the usual removable foam lining for cleaning.
Part of the Miktek sound comes from the use of transformers in all of their microphones, and in this case the transformer handles both balancing and impedance matching (output impedance is 300Ω). The capsule is fitted via a resilient mount to minimise handling noise. In terms of size and weight, the mic feels very familiar with a basket diameter of two inches, a length of a hint over seven inches and a weight of just under 300g. Its sensitivity is specified as -57dBV/Pa.
These days there’s plenty of choice when it comes to affordable dynamic vocal mics but, as with studio mics, it pays to try out a few and then pick one that suits your voice. For example, if you need to cut through more, a mic with a hefty presence peak might suit you, but then that same mic might sound too harsh for a singer with a more brash vocal tone. As is the case with most live vocal mics, the T89 does have a presence peak, in this case topping out at around +6dB between 6 and 9 kHz. The response rises gently from 2kHz upwards into the presence peak but is nominally flat below that until the lows start to roll off at around 160Hz, reaching the -10dB point at 50Hz. This LF roll-off is important to help balance the proximity bass boost that occurs with all pressure-gradient microphone types when used close to the sound source. As this mic has a super-cardioid response, the least sensitive angle (and therefore the best place to put your monitors to reduce the risk of feedback) is 135 degrees off the main axis, rather than directly behind the mic, as is the case for cardioid models.
Tonally the mic leans towards a warm sound when used closer than 20cm from the mouth, and I found that it benefited from maybe 3dB of boost at around 3kHz to put the necessary clarity back into my own voice. That suggests it might best suit somebody who needs to tame an aggressive edge or to prop up some weak lows. However, with a little EQ it can handle most singers, and that low cut is actually quite useful in reducing the risk of popping. Given that the cost is in the same region as the ubiquitous SM58, this is a mic you’d choose based on how well it suits your voice rather than simply price, but it is a very solidly built and capable mic that deserves a closer look.