Built-in 100 Hz pad (up to -25 db), built-in boost at 4 kHz (up to 4 db)
Sensitivity: 1.2 mV/Pa
Range: 50 Hz - 20 kHz
SPL for 1% THD: 128 dB
I've used it regularly in concert and rehearsals for more than 15 years, as a musician or sound engineer (non-professional in both cases). So it has endured several hundred gigs.
A bit weak in terms of sensitivity compared to other mics in a somewhat "higher" category (like the Beta 58 or N/D767A) and even compared to more recent mics in a "lower" category (E845, D880, etc.), but don't forget it's 20-year old technology.
Note: It isn't very prone to feedback, which might seem quite surprising.
It's truly sturdy (it's impressive, it's the only mic whose windscreen I haven't had to change), with an impeccable finish.
Rather clean and precise sound, "flat" reproduction.
I have four, which I basically use to record the snare and toms live, in case the drummer hits like a madman or is clumsy (you need to take care of your most expensive and fragile mics).
It is a bit less rich and subtle than the M201N C for such applications, but much more effective than a cardioid mic like the SM57 (more immune to surrounding sounds, with a wider and more faithful reproduction)
If need be, it can also be used for hi-hats or the ride.
It's technically interesting for vocals (it handles plosives very well, doesn't have a significant proximity effect, as far as I recall, even without low-cut). There was a time when I used it for backing rather than lead vocals, due to its weak sensitivity and its small dip in the mids.
I have good memories of it on guitar amps.
No bad memories on acoustic strings (although it's been quite some time). I never used it for wind instruments (brass nor wood).
In my opinion, it is better than the SM58 cardioid in all cases and even the new AKG supercardiod, the D880 (very somber and not very precise, in my opinion).