Shure - BETA 87C

It sounds like you only have 1 mic/1 input available at any given time. The part I don't like about that is that you might be missing out on the possibility of a stereo image on the piano. If you were to ask me(and probably ONLY me), I'd say 2 of those Beta 58s or even the Beta 87s would be just fine on a piano, BUT YES... it WOULD pick up a lot of the clack and clunk from the keys.... however, some people like that. Even if you only had 1 mic for the piano, those Betas sound pretty good. If you are looking for an upgrade on mics that will give you a studio sound with less "condenser" sensitivity, I would recommend Ribbon Mics like the sE Electronics X1R. These mics are not too expensive at all, and they sound like a dream (especially for how inexpensive they are). However, they are definitely not as "bright" as a condenser mic. The other thing I'd say is that even a standard SM58 sounds decent for vocals in a studio setting, however if it is true that you only have the one input, then regardless of mic choice; I'd recommend recording the piano first AND THEN the vocals. I certainly would not recommend using a single mic to record both the vocals AND the piano at the same time. As for the other mics you mentioned... The SM7b is AWESOME on female vocals, but it IS pretty pricey even for how good it sounds(at least in my opinion) and the Rode NT1 is simply a horrible choice all together. I'd rather one of the Betas on a piano before the NT1. You'd definitely be better off with a Ribbon mic (or 2, since you should be going for stereo image anyway) OR even an NT5 before that NT1. In any case.... Those fluid performances CAN still be recorded independently from each other, especially if you are like me because I cannot fathom doing an entire performance without a click for at least the main portion of it.

Have you tried the KSM8? It’s kinda sorta smooth around the mids, very little proximity effect, doesn’t emphasize 800–1.2 kHz area. If budget’s tight, good old Beta 58 or 87 are worth to give a shot. Before cutting 350–400 and 750–800, I’d first sweep around 900–1.2 kHz and put a gentle dip there. Then add a small cut near 350–450 Hz, plus a dynamic EQ band around 800–1 kHz to duck on big vowels. HPF around 100 Hz, and if it sounds dull, add a touch of air. What I also find useful is playing with the mic angle and aim, try 20–30° off-axis and aim just below the lip line. That often takes the edge off. You can test and try to figure out a sweet spot for your singer. If you sprinkle in some VST magic like Waves F6/C6 and pair it with the right capsule and mic technique, that works best. Why I like F6/C6 in this case is; F6/C6 let you set per band thresholds, ranges, and time constants, even sidechain a specific band, so you can make the 900–1.2 kHz dip only when it pops out without dulling the whole. Metering shows exactly which band is working and how much, which makes dialing faster. Many decent modern consoles built in dynamic EQ is also great and close enough. If your desk already has per band dynamics with good metering, you can use that too. Plugins mainly win on ergonomics and precision.

Shure beta sm87 for lower stage volume band or Shure sm58 for loud band. The 87 has more top end and cab be more difficult to control at higher volume levels. Sennheiser e865 or e965 are also good choices. Truth is you should demo any of these before purchasing. At least do a lot of research if there's no place near to demo them.

i saw you're working with SM58 caps. which are good, let's state that first off. but instead of trying to get a mic that has *less* nasality, let's get a mic that has *more* detail and air, which are the frequencies you're really going to need to ensure are highlighted- and so relatively it will have *less* nasality compared to the *more accurate* detail and air just about every mic ever is going to pick up *plenty* of 2khz and below, we don't really need any mics that we would claim to have a boost down there. most often i'm making band cuts 2khz and below *just to get* 2khz and *up* reproduced accurately. so let's not make more work for ourselves in getting a warmer or beefier sounding mic lol i would look towards live condensers, namely the Beta 87, cardioid or supercardioid depending upon your monitoring situation. they have a much more detailed and "accurate" response 2khz and up, compared to an SM58 or Beta 58. since there is more energy up there than before, our band cuts or boosts at the console don't have to be as deep or high but you should still do some EQ tailoring no matter what. do "seek and destroy", pull up a medium-sized band +6dB and sweep around the midrange until you find the band that sounds the worst, then cut it. don't just guess. the RTA will probably give you strong clues, too

Love them. But not the mic for everyone. The vocalist needs to be situationally aware, you know backing off when singing loudly and all that good stuff. But they are great when the situation is right. Good call

The ship I was one used Shure betas for our standing sets. Sm57s for sitting

You’ll want to get an external microphone that connects via USB or use an audio interface with an XLR mic—something like the Focusrite Scarlett Solo. A USB mic will be the easiest and most affordable option. I personally use a Shure mic with XLR and audio interface but if you want USB only for simplicity. This one is highly rated and works great with Zoom: https://a.co/d/0kW94MC There’s also a higher-end version here: https://a.co/d/3dMutRA I’ve also heard great things about these mics: https://a.co/d/98s1aEP At the end of the day, any USB mic will work—it just depends on how high you want the audio quality to be and how much you’re willing to spend.