Depending on the acoustics of your room, you may find that early reflections are an issue, so a reflection filter may help - or some absorber behind / above / below you (so the mic points at the absorber, not a reflective surface)
You might find a dynamic like an SM7B gives you better results in a lively space (because it has less mid-range detail emphasis, is hypercardioid, so less room spill), but it needs the right pre-amp, is great for bass, but maybe not for acoustic guitar, etc.
Once you get into higher end mics, one that gets positive mentions is the Audio Technica AT4050 (on my list to check out after Al Schmitt recommended it in his book), but it depends on male/female vocal, room, etc.
So, in the wrong space, the U87 picks up 1.5k room modes like crazy… a nasal “ring” … I need to put more absorber up high. For one vocalist (very nasal, not well controlled), certain notes took off, and the SM7B won hands down - fuller – the detail of the U87 made him worse! lol
(A beta 58 and a good transistor pre might be very cool - depends on your timbre)
Most important, mic+pre choice depends what you’re recording, and I’d suggest you go into a pro audio store and ask them if you can try a few different setups - which combination makes your voice shine, for your music - there is no fixed answer other than to try several options and the one that is YES … instinct will tell you, not logic, not forums - you must listen (Read Al Schmitt’s book on how he used to set up a session - he had three different channels ready - some engineers have an “I am a professional, so I always know best” nonsense thing going on… but ears and instinct, not “logic” = you must listen!)
I can get great results from either the TLM or the U87 - not always the best option, but other than that, usually expensive is best. But, don’t spend twenty grand on a valve Neumann when an old 58 is going to give you a depth and presence a U47 won’t.
I liked the Rode Classic valve - I don’t like their other mics, but it made my timbre sound a bit like Dave Grohl (v soft timbre + edgy mic = cool!) You have record it and see how the “edge” pokes through a mix - you can’t tell just by listening to the mic on its own.
(This is why engineers and studios carry a wide selection of mics and pres)