Feature:
There's a rolloff pad and switchable cardoid and omni patterns (for directional or nondirectional micing). Not much, but a good mic doesn't require much. There is no tube, but for this type of thing, you're better off without one. "Features" isn't really an important category to choose mics on.

Quality:
I just can't believe it, but these are well made. I keep thinking I'll find the catch, but this thing sounds good and it's made well. No shortcuts that I can detect. This is great news for small studio owners and bands. For the first time, they'll have the chance to record with optimum mics and be able to compete with large studios once they get a handle on mic placement and such.

Value:
You can't beat this.

Desirability:
Equipment I use: Protools HD, 4 Focusrite Red Pre's, 1176 Compressor, 4 Aphex 204's, Behringer Eurodesk, 3 Studio Projects C1's, 2 pairs of C4's, Neumann U87, 2 M150's, stereo pair of TLM103, 4 KMR82I's, Rode NT4, 2 Shure KSM27's and a 44 and a bunch of 58's, Fender Twin Reverb and the solid state red knob one, Sherman Filterbank, Moogerfooger Low pass filter, Frostwave Blue Ringer, Resonator, Sonic Decimator, Effector13 Loop Matrix T4, Korg KP2, Vintage Rat, Big Muff and Double Muff, Holy Grail Reverb, Marshall Shredmaster, Schecter Guitar, Rickenbacker 325, Gibson LP, Roland KC-500, Minimoog Voyager, Korg MS20 and MS2000, Access Virus B and C, Fender Rhodes, Wurlitzer Epiano, Emu Vintage module and Virtuoso2000, Fender Jazz Bass, Slingerland Studio King Drum Set, Conn 6m Alto, Yamaha SuperAction-80 Tenor, Numark CDX, Technics Turntables with Kaoss Mixer, Akai MPC2000, and some standard plugins like Waves, Antares Autotune, etc.

Sound:
The best pair of mics you can buy for stereo. The omni setting provides a full and ambient room sound for drums and if you're room isn't so great sounding, the cardoid pattern nicely puts you right next to the drums, making it seem like your head is between the snare drum and floor tom. I really like how you can hear all the nuances of the sound in these. You can hear the way the stick rubs the drum head, the air around it - these are just great. The price doesn't mean anything either - it outcompetes any of my neumanns for the drums, despite those being a lot more expensive. I wish these were available when I was building the studio, because I could have used the money to buy a lot of other things.

Support:
I really trust this thing, but haven't had it for long enough to know how it fares over years. It's not really the kind of thing you'd take out of the studio, so I don't think there will be problems with it breaking. I've heard good things about the support from those who were delivered faulty mics.

Overall:
For drums, I suggest you buy these for the overheads, use a C1 for the snare drum, and find a good bass drum mic elsewhere. That's all you need for a professional sound. These mics do well for other applications as well, from what I hear, but I've yet to try that, except for the C1 on vocals, which sounded incredible.

Feature:
odd with one switch for pad and eq, but i don't use them - i leave that to downstream gear.

Quality:
don't be fooled by the price. they have a good "feel" to them.

Value:
most excellent bang for the buck

Support:
i haven't needed it, but from what i hear and read they're pretty good

Overall:
i use them for concert recording, typically card's setup in NOS. they rock! shockmounts, t-bar, and case ain't much to brag about but well worth the price for a decent pair of card's & omni's. they fit nicely in AKG H100 mounts.