the t.bone MB 78 Beta, cardiod condenser microphone - ideal for vocals and acoustic guitars. Low-cut filter. Frequency range: 50Hz-16khz, without switch, Impedance: 200 ohms, max SPL: 136 dB, requires 9-52v Phantom Power, incl. mount and transport case, weight 240 g
Come up with your own creative bundle and save
If you order this product together with others as part of a bundle, you can save up to %8 additionally!
I have been involved in sound-engineering, both live and recording for about 50 years. I am not a professional so have always worked on tight budgets. These days, I have a massive microphone collection which includes dozens of examples of mics from all the major manufacturers. I have searched endlessly in this time to find an affordable vocal mic with a high performance - and I have now found it! In fact I have found about 20 of them - all the same - all Thomann MB78 Betas!
In my opinion, the MB78 Beta is the best vocal mic available at anything like this price. OK, what's so good about it?
Firstly, the sound quality. Clean, sweet top end without the hard edge upper-mid boost that so many dynamic vocal mics deliver. I have never had any significant feedback problems with these mics in live work (though to be fair, I rarely work in an environment that needs massive volume). I have never tried an A/B test with a "famous" mic to see which will give the highest volume without feedback but my impression is that these would match any dynamic mic for feedback-free gain. This is probably due to a pretty flat frequency response. These mics certainly extend at the top end beyond the range of a dynamic mic.
I have used the mics for recording close-mic vocals and the results have been flawless.
Another thing I like about these mics is their almost zero handling noise. The shock protection is excellent and much better than any comparable mic I have ever used. A great bonus when performers want to hand-hold.
Low end is brilliantly curtailed with the on-board high-pass filter. I always use this switched in for close vocal work. This makes the mic almost pop-free. Once or twice, I have had to resort to using a foam pop-filter for particularly breathy performers but most of the time this is totally unnecessary.
These mics are pretty tough too. OK, I look after my stuff but I have had some of these mics for getting on for a decade and they still look as good as new.
They look pretty good too!
The verdict? Unless you want to pay three, four or even five times the price, you won't get much more for your money. These mics are brilliant! Thomann - please keep these in stock and hold the price!!
I have used this microphone in quite a few situations now and I am extremely happy with the results. This microphone really shines on vocals. It has fast become one of the most reliable mics in my tool box. For the price this can't be beat. It's a work horse. I will be ordering more of these soon.
NB Edited a few months later - I've just bought a Shure SM48 from Thomann, it's a brilliant budget mic, very good second best to the SM58, and a much better purchase than this one.
Having seen all the very positive reviews of this I thought I would give it a try and had high hopes. I use SM58 mics for vocals and clarinet in an acoustic group.
I tried it in my home studio which is fairly dead acoustically (plenty of carpet and soft stuff), used both our small PA (Behringer 205D active monitor) and a pair of active studio monitors (Samson Studio GT). I was able to compare it directly with an SM58, singing the same passages with each, and also as a guitar mic.
I also tried it in a sound check at a gig in a large cafe with quite a lot of hard surfaces, again with the 205D.
In the studio the mic sounded quite good. It was a lot more sensitive than the SM58, with more upper-mid 'presence' but a bit too much sibilance. The bass-cut switch was excellent in eliminating most pops. It felt like it could be a good mike for a gig where you need an attacking sound, maybe if there is a lot of audience etc to absorb the higher end. Taking off a little treble on the mixer helped with the sibilance. The sound was different between PA and Studio monitors, as you might expect, but the difference between Shure and t.bone was similar in both cases.
But in the venue it was problematic as the extra mid-high sound resonated quite a lot in the room. We tried the clarinet and the sound was quite unpleasant as the resonance was right in the middle of the clarinet's range. I expect some care with the EQ and volume might help with that but the SM58 seemed to work fine "out of the box" as it has in most places.
So I think it might be useful for some venues where the acoustics are particularly dead, or a singer who needs some extra presence, and as a spare, but not a mic I would plan to use at most gigs.
I bought three of these for my church. They really come in handy for drum overheads or miking violins and guitars. They pick up a good detailed sound at a greater distance than, say, a dynamic mic like a SM58, and we have no feedback that can't be tamed by a little work with the parametric mid on the relevant desk channel. Good for lectern-mounted speech too.
There are probably better-sounding mics available for recording - I wouldn't know, I'm not very experienced - maybe others are better for handling noise - but for indoor, day-to-day PA work I don't know why anyone would pay more for a general-purpose condenser mic.
Offers include 20% British VAT and are valid as long as stocks last. Shipping costs to the U.K. are 10 EUR (approx. £7), free shipping on orders above 199 EUR. Please click here for international Shipping rates. We do not accept liability for typographical errors or inaccurate information of any kind. *RRP = manufacturer's / distributor's recommended retail price in Germany