Cardioid vocal microphone

SKP 2000


Extended high frequency response and supercardioid pick-up pattern for higher signal output, cuts through high on-stage sound levels. Smooth warm tonal response and full dynamic range, with presence lift for vocal clarity and projection. Consistent on/off axis and proximity response maintain sound quality while moving, providing greater on-stage freedom.

Full metal construction and extensive suspension and shock-mounting minimize handling noise and signal interference. High output performance microphone, offering power, clarity and projection (also available with a switch: e 845-S).


  • Dynamic super-cardioid microphone for speech and vocals
  • Extended high frequency range
  • Consistent sound quality (varying distances, moving off axis)
  • Handles high sound pressure levels
  • Optional silent on/off switch
  • Isolates handling noise, hum compensating coil
  • Excellent feedback rejection
  • Rugged metal housing

Technical Data

Switch Dimensions Connector Frequency response (microphone) Weight Sensitivity in free field, no load (1kHz) Nominal impedance Min. terminating impedance Weight w/o cable
On/Off SKP 3000 004516
Ø 46 x 185 mm
40 - 16000 Hz
Without cable: 330 g
1, 8 mV/Pa
350 Ω
1000 Ω
330 g

What's in the box?

  • 1 e 845
  • 1 microphone clip
  • 1 pouch

Compatible Products

Overview of all compatible product components within the series as well as compatible headsets and microphones. SKP 100 G3

SKP 2000

Article No. 504051 Plug-on transmitter with phantom powering
  • Up to 6 x 64 user-programmable channels
  • Easy synchronization with receiver via infrared interface
  • 48 V switchable phantom powering
More about SKP 2000

SKP 3000

Article No. 009974 Plug-on Transmitter
  • Electronically balanced input for professional requirements
  • Compatible with 3000 and 5000 Series receivers
More about SKP 3000

SKP 100 G3

Article No. 503130 Wireless plug-on transmitter for wired dynamic microphones
  • 1.680 tunable UHF frequencies for interference-free reception
  • Easy transmitter synchronization via infrared interface
  • User-friendly menu operation with back-lit graphic display
More about SKP 100 G3

SKP 300 G3

Article No. 505500 Plug-on transmitter with phantom powering
  • P48 phantom power for easy use of any cabled mic
  • Plug-on transmitter with XLR-3F connector for quick use, no visual interference of cables
  • Up to 42 MHz switching bandwidth for flexible use at different locations
More about SKP 300 G3


  • MZW 4032

    Article No.

    Foam windshield designed for use with the MD 42, MD 46, MD 425, the MD 431 II and all e 800 and e 900 Series vocal microphones. Delivery includes a set of identification rings in five different colours.

e 845

Article No. 004515

e 845-S

Article No. 004516
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Recording gear, studio setup.

by TitoMakani

Hey there,
So i finally invested in some recording software and bought a lexicon Lambda and I'm currently running it through Cubase 4. While it's working out great so far, i need to buy some new microphones to record vocals, acoustic guitar and banjo, and possibly drums? Well anyway, what are the best microphones/deals around and what should i look into getting? or am i better off buying an acoustic pickup for guitar/banjo and buying a mic just for vocals.
Any opinions or input, go for it.

Your reasoning for why reverb sounds better

by is_flawed

It's really very simple- a sound recording is an artificial reproduction of a live event occurring in front of sound transducers (microphones), much the same way a photograph is a representation of what was happening in front of the camera lens, which is an optical transducer of sorts.
Like any mechanical recording/reproduction there will be inaccuracies- cameras take in the four dimensions of height, width, depth and time (shutter speed) and and render them in a two dimensional photo format. Sound recordings take spatial information and try to put it all into a multiple channel format that can only approximate reality

Shure Incorporated Shure BETA 58A Supercardioid Dynamic Microphone with High Output Neodymium Element for Vocal/Instrument Applications
Musical Instruments (Shure Incorporated)
  • Frequency response tailored for vocals, with brightened midrange and bass rolloff to control proximity effect
  • Uniform supercardioid pattern for high gain before feedback and superior rejection off axis sound
  • Neodymium magnet for high signal to noise output
  • Advanced pneumatic shock mount system that minimizes transmission of mechanical noise and vibration
  • Minimally affected by varying load impedance

Samson Meteorite review | USB Microphone | TrustedReviews  — TrustedReviews
The Samson Meteorite is a cracking little portable USB microphone that will be perfect for those that want to take the first step towards higher quality audio recordings. It's incredibly portable, easy to use and provides good quality sound.

Popular Q&A

BEHRINGER b2 PRO Shure BETA 58a or --- Which of these Microphones is the best for Recording Vocals?

I want to buy vocal microphone for my home-studio. I found on internet that best dynamic vocal microphone for studios is Shure BETA 58a, but now i also found BEHRINGER b2 PRO , and it looks more "professional" then first one.


So what is best , what do you recommend to me? That two or something else. (If you recommending something else, then It need to be good quality microphone and also that can lover "s" (whistle-effect when speaking) ... But don't recommend those "super-professional" microphones that cost 3000$.

My budget is around 100-200$<-MAX!!

Thanks in advance.…

I like the Behringer...but my stage microphone is still an ancient (1967 vintage) ElectroVoice cardioid unidirectional model. That makes me both old school and new school. :-)

For studio use, get a pop filter.

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