Grab a cheap, used SM57 or 58.
Keep it as a backup when you upgrade someday. It doubles as a hammer in emergencies. Can't kill the damn things and they will always sound "good". Rarely great, never bad, but always good enough.
It's a lot about the philosophy in the mic's design. The RE20 was specifically designed for broadcast announcers/commentators/show hosts. It's built so you really can't get close enough to the actual mic to get a lot of proximity effect and its built-in blast protection is excellent. Wide, flat frequency response makes voices sound very natural even when used very close.
Mics like the SM57 and 58 have proximity effect but have built-in low-frequency rolloff, so they work well hand-held and very close to the sound source.
Same here. I used my 58's when we were playing live and 57's when I've needed more mics or have been limited on space. I've recently been using my R144 as a room mic for drums. That's the only thing I've ever liked it on. It just doesn't do it for me on vocals. I've thought about trying it paired with a 57 on guitar cabs since I don't have a royer 121, but haven't devoted the time to experimenting yet.
Edit: what's the 991 like? I just bought the 990s and not the combo set.
Without an interface you'll likely need a dynamic mic instead of a condenser that requires Phantom Power. That being the case, the Shure sm57 is the utility mic that does everything and does it well. Every studio in the world, not matter their budget, no matter how many mics they have in their mic locker, will always (always) have several Shure 57s on hand and use them all the time.
1991CRX
