The problem with the SM7b is that is not very versatile, and when you need a mic that has multiple applications it is hardly a Swiss Army-type of tool. I have put one on hi hat where its dry quality is sort of nifty, and snare when I wanted to change things up. I think the TLM 103 is mediocre, if you think your clients might like to see that particular brand on your mic list it is the cheapest way to get that done, but it is weak porridge compared to a real Neumann, which basically stopped being produced when the U67 was discontinued. I have one of those Telechunken nine polar pattern tube mics which I have put on so many singers with results we all liked, it can be had for less that 200 bucks on Amazon, who has a return policy that makes your worries about audition microphones basically a non-issue. Set it on omni diectional, after letting it heat up for a couple of days, and you may find your new best friend. That pattern on this particular microphone is less sibilant, eliminates that pesky pop filter that seems to disconnect most people from the sweet spot, and with the kind of noise floor that the music you described all that nervous nellie worry about your fridge or dogs barking or whatever is never going to heard. Sometimes i will break out my Rode NT2, it is a pretty good sounding vocal mic, and if you can find one of the fairly common early versions of the Groove Tube Fet 55. well, when it was all I had I put it on lots of singers and everything else, currently it is parked above the floor tom where it is so much more detailed and "drummy" than the usual suspects in that application. Mainly enjoy, the rest is mere window dressing for the blind anyway....