What kinds of mics do you use?

Outside it seem comparable to the other Shure miss I've seen, I unscrewed the windscreen and I'm not sure if the inside is as sturdy as an SM 57/58.
Can't say how that compares to the 48S though--never having held one of them.

So possibly hit & miss.

I bought an SV100, not because it was the best option, etc--but because it was a great deal--and I didn't mind having a cheap mic as a back up, etc.
So it's got some sturdiness, but if the 48S is within your budget--it's probably the better option.

Another thing--at that time the SV100 came with a cable.
It was an XLR to 1/4", but that works sometimes.
I did later buy XLR to XLR.

My digital recorder can accept XLR or 1/4" inputs--and that's what I would using it with--or just into an amp perhaps for spoken word/singing.
If XLR to XLR is an option I do that--otherwise it's a back up
So I haven't used any converters--maybe someone else has.

My impression has always been that mikes that have XLR connection (at the end where they'd plug into a PA) are low impedance, and mikes that use 1/4" plugs at the PA end are high impedance. Generally, they're not interchangeable.....Due to differences in gain and impedance. I believe rather than just an adaptor that changes the plug configuration, you would use a low impedance XLR terminated mike with an inline transformer that converts XLR to 1/4". I haven't bought one in years, but at one time, those inline transformer/plug converters were around 30.00...Probably, like most things, more today. If you try to use a low impedance mike into a 1/4" jack intended for high impedance, the gain will be very low.

There's a big advantage in having low impedance mikes and a PA designed for XLR connections.....You can run really, really long cables with little or no loss. If you're using high impedance mikes and a PA with 1/4" input jacks, there are some big restrictions on how long a cable will work. Too long, and it'll pick up lots of noise. In my experience, with high impedance, 15 ft is optimal, but anything over that runs the risk of noise.

It might not be as expensive as I anticipated....I just had a look on eBay, and the transformer/adaptors can be had for as little as 15.00.

www.ebay.ca/itm/Whirlwind-LITTLE-IMP-XLR-Female-to-1-4-Male-Inline-Transformer-LTLIMP/392192067983?epid=1700024906&_trkparms=ispr%3D1&hash=item5b5078098f:g:CDkAAOSwhSNf7wLn&amdata=enc%3AAQAFAAACgBaobrjLl8XobRIiIML1V4Imu%252Fn%252BzU5L90Z278x5ickkyMJZWL%252BqFSgQ3TOOe%252FNr7tHU6ThqYNBJ6922gXTbpm541GPBWLEDzjy%252BWGC7oV1WTTmTHKkaK%252FJnxWV%252FZOcuG43rajluVMlcrPOFJ7XDBqnQBwBsqgcOgHKe5XAlnnA%252FtKB9UnUdHW4B0RcQcZ5SM%252BHpLiPKsnvBpSOn4GATZV9fmgOlSsACI9MCN8JbXqj66XnN4XAsKqSHIFLqMUq0iE3XZiaikGOaaFfwjfvSLPryiS9UfRsLs2xPDvV40QdPnhd%252BW7YiWP06Ec6Twgu%252BLM7acbQZZ%252BOrgnCExFIis7olmpxhh%252BN829AInFswdvqs5LlbqpGzb2DaH%252BQ9XQm2G1q2IXaa6aDh0h0M1a0PjV%252FUsE6eXyk%252FMoRF0n8Ljs2BNuFXEt%252FMmIcOWICK3W9HYX9Wrg691kjPQP39mMf3bHuWUgFXDifDHjOGOXvgftNmwcv%252B6zCe5iXtVe0%252FH19UBTzYh5sMru%252BedN1sqKclAWocBAOjP0wfLCdX%252B%252FDEtWOMwM%252BZpHLqdCUjmOdE88QzzqlX0TS%252B8KQs3iUspzWy6PfCjF7IAYC9vqysmTjQg0x6Te%252FECuq6yfATe8zxGAxnhFgSHKODJBpAMcg36vbJOY1DnJ1LU%252Bjti5MchAN7owr%252B9R83uK8FIPWTOULrUwnR3uA2ESYe%252FpXJR9CG5pezNoI4rtLDaa7jS5Os29VA8Zw6%252Fuyk3y26Ni0j9yvWodcvLXjn32QXEOG0RVwMs%252F4Wb4gULtND4Dm2Rvy36k4%252Ff6YlSIUsTQArSBDdPZvXflxk83eZCdWlcyrIHkcwMM6HnpQ%253D%7Ccksum%3A392192067983a7e9b1b87a81450389a5d027763aa50e%7Campid%3APL_CLK%7Cclp%3A2334524

I've never had an issue with 1/4" vs XLR--although I mostly use XLR.

Although I can see some differences could be there.

I knew about the gain differences but was always able to use a PA channel that was the correct gain and impedance loading, so I didn't think much about it. However, this past summer, when I was auditioning singers for my last band, I got a real eye-opener. This guy showed up with a Strat and a Twin Reverb, and his mike was a Samson. He'd been playing at home by himself and used to plug the Samson mike into the Normal channel of the Twin. Because the Twin only has 1/4" input jacks, he'd bought a cable that was strictly an adaptor, with an XLR fitting on the mike end and a 1/4" phone plug on the amp end. I guess it worked well enough to satisfy him for home practice because he could turn the Normal channel up to about 5 or 6 (which should be deafening loud on a Twin) and it was adequate to hear himself. But, when he came to audition with us, we plugged his mike into a 1/4" high impedance channel and we just couldn't get him loud enough through our PA to be heard. Not knowing much about Samson mikes, I just assumed it was a cheap POS microphone, but when I looked that model of Samson mike online the next day, I discovered that it was only supposed to be suitable for low impedance. If I'd thought of it the night before when he was auditioning, I should have tried plugging his Samson mike into the XLR cable from my Shure PE56 and it would have had enough gain to work fine....But I didn't know how big a difference it made at the time. The only time I'd run into it before was in the 80's when our singer had bought herself an upper-line Shure and the guy in the music store, when he found out we were using a high impedance Shure Vocalmaster PA with 1/4" inputs had sold her the matching transformer.

Aside from gain, the other big difference is being able to use really long cables with low impedance mikes with no loss or noise. My PE56 (wired to low impedance) now has a 35 ft cable that works fine, but when I had it wired internally to high impedance, anything over a 15 foot cord was problematic. If you play out often, and I know you do, dB, you'll see the advantage of being able to set the PA where you want it, instead of where the short microphone cables dictate that it has to be.