Well I got another one...I'm starting to wonder if I might have some sort of a weakness for microphones...and compressors...and pre-amps.
 
I'll show pics if the delivery driver gets it here ok.

Thank you rumley for proving my point. Calling someone a troll and ignoring them because they are right about something you disagree with, is still running away.
However, I am not surprised at all that you are completely wrong about the microphones. I doubt you even listened to my song. The vocal parts were taken from various people in my studio doing sound checks on various microphone models. I like to do that because different microphones respond differently to different people's voices. They all have their own characteristics but voice tones are very complicated and each microphone reacts differently. Here is a hint, the first female vocalist is using an AKG G5.

Here it is Pistol, what do you think? The important part is yet to come...how does she sound? I never got away from the idea that I'd like to have one of these. Batsbrew  turned me onto this. Thanks Bat!
I'm interested to try the proximity effect with tenor voice and acoustic guitars. 
 

Well, here is the first take with this mic. No pop filter. The KSM44 has a built in pop filter I think. You can hear the room acoustics because i didn't use any absorbers for this test. The freq. response is excellent. I didn't engage the high pass filter. This was going through my ART PRO MPA 11 ending up at -6/-8 db. 
 
This is a 256 mp3. so the quality has been diminished from the original. So far I'm loving it, I just need to learn to sing on pitch. Can't wait to try this on guitar.
 
https://dl.dropboxusercon...30861263/KSM44test.mp3

Good choice. That's a very nice microphone, you should get very results with it. As with all new equipment, you may need to experiment a bit with the various settings and placement.
 

However, I am not surprised at all that you are completely wrong about the microphones. I doubt you even listened to my song.

 
Sorry, I assumed your music was a joke.  Your right, I gave up listening after 10 seconds.
 
And I also realized I listened to the wrong song.  So if "track 9" is the correct one to listen to then no, I cannot reliably tell you which one is the U47.  All sorts of different voices make a comparison impossible.  The man on the right definitely had a warm tone reminiscent of a 47, but it seems closer to the 58.  
 
Certainly if this is the kind of music you plan on creating, then you absolutely do not need a great microphone where fidelity is important.  

No pop filter. The KSM44 has a built in pop filter I think.

 
It doesn't have a pop filter built in, the basket design can eliminate some pops but you should use a filter if you plan on getting close.  The sound is very even and natural.  KSM44's are great mics.  

Hope you enjoy your KSM44!

Pete-, I have been playing withe the mic a little more. So far I like what I'm getting from it. Daniel, if I'm careful I can pull off recording without a pop filter. One plosive though, and it has to be fixed in post, so I need to use it more. I read this last SOS( I think, it might have been another publication) and there was an article regarding misconceptions of recording. One of those was that you must always use a pop filter. For me at least, I need one most of the time.
 
Mike, thanks....I couldn't pass this up. There was a typo in the description. It was a small typo but it meant that only two people bid on it and one of those was me. I feel bad for the guy that lost, but I lost it the last time.We can't win em' all.
 
I did a hurried acoustic guitar recording so you could hear what it sounds like on acoustic guitar. Don't mind the string noises. I used three tracks for this. One was from the KSM44 in omni mode placed about 18" from the hole of the guitar. The other mic was an EV cobalt dynamic. I picked it up one time in one of those MF stupid deal of the day things. I put it about 10" away from the sound hole on the other side. I panned those two tracks left and right and also have a track that is direct from the guitar to my interface....that track is in the center of the mix. I played with the EQ on L/R channels so that the two tracks are tonally a little different.I made the mono middle track a little less in volume that the other two. I added a T-racks CS Inverse plate set to "nice Guitar" as a send...I threw Alloy on the master and tweaked it some for guitar. Here are the results.
 
https://dl.dropboxusercon...63/Martin%20Guitar.mp3
 

I've really enjoyed reading this thread and like the way it's been conducted overall.
 
Often these types of threads just descend into a catalogue of people saying "I've got one of these and they are the kick ass best so get one."
 
There's been some thoughtful and considered responses here that have made it an interesting read.
 
In my time I've owned quite an array of mics many of which are considered classics today, trouble was they were all prey to being able to generate reasonable lumps of cash when needed and over the years that revered collection just degraded into a few, more modern, cost effective mics needed for a particular situation as and when required.
 
Out of all the gear I've owned and disposed of over the years it's the mics I've missed the most and not out of sentiment but because I knew exactly what each one would bring and I loved them for that individual character.
 
The bottom line to that is always cherish and hang on to the ones that make the grade among your collection, whatever price point they come in at, because they are truly irreplaceable.