It isn't a problem. It's just a condenser frequently causes more problems than it fixes unless it is in specific instances. By the time one shelf eqs the average condenser it would be better to start with an SM58. For commercial voice overs etc there is much more flexibility to tailor things because it isn't sitting in a mix.
I guess i just always saw the 58's for p.a.'s and the stage, and u87's in the vocal booth and drew my own conclusions. Never even tried to use a 58 to record vocals. The condenser's are harder to set up right. That sm7b does look nice. It's a bit more than a crappy interface But good mic's and placement seem to be the most important.
One has to be careful of drawing conclusions from music videos. Many times thats just for show. Other times a singer might insist on a mic and the engineer will throw up an additional but just use the one. What the singer doesn't know won't hurt them. Also even in a studio the 58 had been used on more pop vocal tracks than any other mic. If you talk about classical music then the approach changes somewhat and you are more likely to see a U87 or ribbon but even then a trusty SM58 is not without value.
I prefer SM58 for most vocals. Occasionally, I may use a condenser, I may use a ribbon. When I want something better than the SM58, I'll grab a Beta 58. Sometimes an SM 7, (original issue). But that's really close to a SM58. People argue that with me but if you know where the capsule is in the 7, it doesn't matter if your lips are touching the foam. You are still better than 1 1/2 inches from the capsule. With the 58, you are within 1/4 inch of the capsule which certainly produces a different sound. Match the diaphragms up in the same plane, no bass roll off, presence switch on, on the SM 7 and you have a 58 at 3 times the price. One of the things I do recommend is a foam pop filter on top of the SM58. Not one of those nylons stocking thingies, unless they smell good. The SM 7, was perfect on Michael Jackson. It's been perfect for Steve Tyler of Aerosmith & Bono of U2, should be fine for you also. You use a condenser microphone when you want that kind of sound. It certainly doesn't work with everybody. It might sound good on everybody but frequently you'll have problems placing them in the mix where you want them. In the studio, we've done shootouts with SM58's against Neumann U 87's and found we could virtually interchange with those and still achieve a similar quality of sound to our original release 87's. No fooling. So during tracking sessions, where we may have wanted a 87, we only had 2 of those and we would just start using 58's. They really are one of the worlds greatest recording microphones and one of the best bangs for the buck. Hard to believe a $100 microphone can compare to a $3300 microphone, but it does. I know that seems nearly unbelievable. And it gets better yet when you feed it into really nice preamps like Neve, API's but hey, even on a Mackie.