In my quest for the optimal headset mic for an energic R & R drummer, I have learned that there are slim pickings on good ones and that none are perfect. I have tried and owned several, including a couple of AKG models and the popular Crown unit, and, while some of these have performed reasonably well, they all suffer from some design flaw or performance characteristic (or two) that makes for some disappointment and leaves me wondering why no one can get it quite right. I purchased the Crown model, but sent it back after a week of trying to adapt. The mic itself sounds very good, although perhaps a little too bright, and the rejection of extraneous noise was as good as they claim. But the unit is relatively bulky compared to others, and the boom is a large U-shaped structure that is somewhat heavier than on other headset mics and tends to wobble quite a bit when you're really whacking on your skins. Also, the lock screw that hold the boom in place is susceptible to loosening during a performance, and I found I had to frequently check the tightness and make adjustments. I won't go on about the other mics I tried or scoped out, but they all have some features that left me wanting. Ultimately, the Shure Beta 54 won out. It is a light weight unit with a tight fit that hold it firmly in place, and the mic really sounds great. The boom pivots and swivels with ease, and so far, after several months of use), there has been no slippage in the boom clasp or other signs of wear. The ear loops fit snuggly and are made of apparently inperverious wire that looks like it will hold up for years to come. Placement of the mic takes some getting used to, due to it's smaller size and tight fit, but I've come to appreciate that this is truly a desirable feature. However, like I said, there are no perfect models for the energic drummer, and this one is no exception. First, it requires phantom power (not a problem if that is readily available), and it doesn't have an on/off switch. The latter is such an obviously desirable feature, I find myself pondering why the designers left that out, but I can get around this problem simply by pushing or rotating the boom to move the mic away from my mouth. Despite that, when you go on break during a gig, it sits there on your set as a live mic, and makes all sorts of crackling noise when putting it back on your head. Also, the foam ball (windscreen) clicks in and out of position quite easily, but a little too easily, such that it is vunerable to being knocked off and rolling under your set. A little glue will fix this problem as well, but it just seems like such an obvious defect. On the other hand, droping the ball has made for a couple of good jokes at gigs, but I'm sure this will get old after awhile. Overall, its the best I've found.

A tiny change in position of the mic alters the volume more than it does with the handhelds, so you need to be able to hear the monitor mix if you're blending with other singers. We've never had the headset come loose during a show.