CAD 22A

Presonus Blue Tube Mic Pre, Studio Projects VTB1 Mic Pre, Mackie 1202VLZ mixer, and Line 6 UX-1 Tone Port Mic Pre/USB interface/Amp & Mic Pre simulator). Generally these days I run the CAD 22A mic into either the Presonus or VTB1 Mic Pre into the line inputs of the UX1 Tone Port USB audio interface using one of the cleaner mic preamp simulators on the Gear Box software designed for the UX1 (which by the way is a phenomenal device that no studio should be without).
My monitor setup consists of Alesis Monitor One speakers and an Alesis RA-100 reference amp. I also check mixes on Koss Pro-35A (successor of the classic Radio Shack Pro-25 headphones that are great for checking mixes as they are highly detailed sounding).
I also have the MXL 2001, MXL-V-67G, CAD Equitek E-200, & Rode NT-1 large diaphragm condenser mics (in addition to tons of other dynamic mics (Sennheiser MD421, Shure SM57/58, Beta 57,etc...), PZM mics, and small diaphragm condenser mics). I also recently bought a Nady RSM-2 ribbon mic which replaces my CAD dynamic mics for "dark" vocals.

I have been recording music for about 13 years, these days recording to my PC through the Line 6 UX-1 although I also sometimes use a M-Audio Delta 44. For software I use Cool Edit Pro and a host of plug-ins as well as some external FX such as my treasured RNC compressor.

The CAD 22A mic is a simple and inexpensive dynamic cardoid mic primarily designed as a low-budget live performance vocal mic. For my purposes, indeed I primarily use it on vocals. However I have also used it a few times on drumkits (on toms) where it performed very well. I first bought this one because of my excellent experiences with a $10 (yes $10) CAD MP10 mic that I got on a Mars Music clearence special. The CAD 22A like the MP10, turned out to be a phenomenal vocal mic when I wanted a darker sound that neither my condenser mics, nor my high end dynamic mics could give me. For my own voice, a smooth rolled off high-end has always sounded best as long as the upper mids were good and clear. This is what is offered in this mic. If you want a bright live performance mic (or for recording) that will cut through a dense mix, then this is NOT your mic. It will work ok, but you're probably wanting something like a Shure Beta 58 or one of the nice EV live performance dynamic vocal mics. But for voices that need some harshness tamed, this is a great sounding mic. Furthermore it makes a perfectly decent mic for recording percussion and guitar amps.
I agree with the other review in that this mic does compare favorably to the original Shure SM-58. Its slightly darker but overall has a similar upper midrange hump in the sound and is very ruggedly built.
This mic along with my CAD MP10 have both seen ALOT of abuse being used for location recordings of bands and thrown into gig bags and squashed. However so far, they are working just fine. The only mic that beats this for smooth dark sounding vocals is a good ribbon mic. My new Nady RSM-2 has the same dark sound, but a much lusher overall richness and slickness to it...but its also many times more expensive and not nearly as versatile. For those starting off in the world of recording or for those who just want a interesting change of sound that still sounds professional, sometimes this cheap little CAD 22A fits the bill perfectly for certain sounds where other mics fail.

I've been writing, performing, and recording songs for nearly 18 years now. I've recorded on everything from the Tascam 4 track to a 24 channel ADAT studio. My preferred method is via a Roland VS series DAW (by which this review will be written) though I'd like to give the Yamaha DAWs a try. I listen primarily through a pair of Altec-Lansing audiophile quality speakers from the 70s. They're the clearest sounding speakers I've ever listened through, short of some really high-end studio monitors a few years back. I've always gotten my best recording results when monitoring the mix through these speakers.

It's a handheld dynamic cardioid microphone with a recessed on/off switch. I have only used it on a mic stand for lead vocals, and let me tell you, that's where it shines! I was really skeptical that a mic in this price range could be worth half a damn, but was pleasantly surprised by the 22A. It has detailed but silky highs, a slight upper-mid boost that puts the vocal track lovingly above the guitars in the mix. It also has a slightly rolled-off bass response which helps it to balance well when one sings 'into' the mic (proximity effect). It also has a multi-stage pop filter built in to the windscreen which does a fine job of stopping the P-pops. I have compared this mic to an AKG D880 (which normally runs around $89) and an SM58. The D880 does well for instrument micing, but sounds shrilly in comparison when used for lead vocal--plus it does not have nearly as good of pop filtering built-in. The SM58 is well known and is a fine microphone with legendary status, and the 22A compares rather favorably. I'll admit that for my voice, I prefer the 22A--no kidding. With a little compression and some fine tailoring via ye old EQ you'll get results that invoke feelings of nostalgia for some of the finer classic rock & pop recordings that have used dynamic mics for vocals.

This mic appears to be ruggedly built. It feels solit and of good quality in my hands, and is refreshingly void of many of the plastic parts that generally 'grace' mics in this price range. I really don't know why this mic doesn't sell for more. In all honesty, factoring in the low cost, high quality and great sound, this mic must get a 10.