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Shure KSM32 Studio Condenser Microphone (Champagne)
15 dB attenuation switch for handling extremely high sound pressure levels (SPL). Embossed, high-compliance diaphragm provides extended low-frequency response.
Because this item is used at your mouth or ear, it cannot be returned once opened due to health reasons. details
Description
Docs
The Shure KSM32 is a side-address, cardioid condenser microphone for highly critical studio recording and live sound productions. It offers an extended frequency response for an open, natural sounding reproduction of the original sound source.
Features
Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range
Embossed, high-compliance diaphragm provides extended low frequency response
Ultra-thin, gold-layered, low mass, Mylar diaphragm for excellent transient response
15 dB attenuation switch for handling extremely high sound pressure levels (SPL)
Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect
Integrated 3-stage pop protection grille reduces "pop" and other breath noise
Internal shock mount reduces transmission of handling noise
Some typical applications for the KSM32 are listed below. Microphone use, however, is largely a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed.
Applications
Voice: solo, background, voice-over, broadcasting
Acoustic instrument: such as piano, guitar, drums, percussion, strings
Wind instruments: brass and woodwind
Low frequency instruments: such as double bass, electric bass, kick drum
Overhead miking: drums or percussion
Ensembles: choral or orchestral
Room ambience pick-up: guitar amplifier or drums
Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.
Frequency Response: 20 Hz to 20 kHz
Directional Pattern: Cardioid
Sensitivity (at 1000 Hz): Open Circuit Voltage -36 dBV/Pa (16 mV) typical (1 Pa = 94 dB SPL)
Self Noise (equivalent SPL): 13 dB typical, A-weighted (IEC 651)
Total Harmonic Distortion (20 Hz to 20 kHz , 2500 W load): < 0.08%* for a 120 dB equivalent SPL input
Maximum SPL (20 Hz to 20 kHz, THD < 1%*):
2500 W Load 139 dB (154 dB w/ attenuation)
1000 W Load 133 dB (148 dB w/ attenuation)
Output Clipping Level (20 Hz to 20 kHz, THD < 1%*):
2500 W Load +9 dBV (2.82 V rms)
1000 W Load +3 dBV (1.41 V rms)
Dynamic Range (20 Hz to 20 kHz, 2500 W load): 126 dB (maximum SPL minus A-weighted noise level)
Signal-to-Noise Ratio: 81 dB (IEC 651)
Output Impedance: 150 W (actual)
Attenuation Switch: 0 or -15 dB
Low Frequency Response Switch: Flat, -6 dB/octave below 115 Hz, -18 dB/octave below 80 Hz
Power: Phantom Power: 48 Vdc 4 Vdc (IEC-268-15/DIN 45 596),positive pins 2 and 3
Current Drain: 4.65 mA typical at 48 Vdc
Common Mode Rejection Ratio (CMRR): 50 dB, 20 Hz to 20 kHz
Connector: Gold plated, 3-in (XLR) professional audio
Polarity: Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3
Dimensions: 55.9 mm (2.20 in.) maximum body diameter, 187 mm (7.37 in.) long.
Net Weight: 490 g (17.3 oz.
Conforms to European Union directives, eligible to bear CE marking; meets European Union EMC Immunity Requirements (EN 50 082-1, 1992).
Furnished Accessories
ShureLock Elastic Shock Mount (SL model only) A32SM
ShureLock Swivel Adapter A32M
Aluminum Carrying Case (SL model only) A32SC
Padded, Zippered Carrying Bag (CG model only) A32ZB
Protective Velveteen Pouch (SL model only) A32VB
Optional Accessories
Foam Windscreen (Charcoal Gray) A32WS (Measured 0.6 m (2 ft) from a spherical sound source, free-field conditions)
Features
Class A, transformerless preamplifier circuitry eliminates cross-over distortion for improved linearity across the full frequency range
Embossed, high-compliance diaphragm provides extended low frequency response
Ultra-thin, gold-layered, low mass, Mylar diaphragm for excellent transient response
15 dB attenuation switch for handling extremely high sound pressure levels (SPL)
Switchable low-frequency filter provides greater flexibility to reduce background noise or to counteract proximity effect
Integrated 3-stage pop protection grille reduces "pop" and other breath noise
Internal shock mount reduces transmission of handling noise
Some typical applications for the KSM32 are listed below. Microphone use, however, is largely a matter of personal taste. The KSM32 may be used for a variety of applications other than those listed.
Applications
Voice: solo, background, voice-over, broadcasting
Acoustic instrument: such as piano, guitar, drums, percussion, strings
Wind instruments: brass and woodwind
Low frequency instruments: such as double bass, electric bass, kick drum
Overhead miking: drums or percussion
Ensembles: choral or orchestral
Room ambience pick-up: guitar amplifier or drums
Both the acoustic environment and microphone placement have significant effects on the sound obtained when miking a source. You may need to experiment with these variables to achieve the best overall sound for each application.
Technical Info
Cartridge Type: Permanently-biased condenserFrequency Response: 20 Hz to 20 kHz
Directional Pattern: Cardioid
Sensitivity (at 1000 Hz): Open Circuit Voltage -36 dBV/Pa (16 mV) typical (1 Pa = 94 dB SPL)
Self Noise (equivalent SPL): 13 dB typical, A-weighted (IEC 651)
Total Harmonic Distortion (20 Hz to 20 kHz , 2500 W load): < 0.08%* for a 120 dB equivalent SPL input
Maximum SPL (20 Hz to 20 kHz, THD < 1%*):
2500 W Load 139 dB (154 dB w/ attenuation)
1000 W Load 133 dB (148 dB w/ attenuation)
Output Clipping Level (20 Hz to 20 kHz, THD < 1%*):
2500 W Load +9 dBV (2.82 V rms)
1000 W Load +3 dBV (1.41 V rms)
Dynamic Range (20 Hz to 20 kHz, 2500 W load): 126 dB (maximum SPL minus A-weighted noise level)
Signal-to-Noise Ratio: 81 dB (IEC 651)
Output Impedance: 150 W (actual)
Attenuation Switch: 0 or -15 dB
Low Frequency Response Switch: Flat, -6 dB/octave below 115 Hz, -18 dB/octave below 80 Hz
Power: Phantom Power: 48 Vdc 4 Vdc (IEC-268-15/DIN 45 596),positive pins 2 and 3
Current Drain: 4.65 mA typical at 48 Vdc
Common Mode Rejection Ratio (CMRR): 50 dB, 20 Hz to 20 kHz
Connector: Gold plated, 3-in (XLR) professional audio
Polarity: Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3
Dimensions: 55.9 mm (2.20 in.) maximum body diameter, 187 mm (7.37 in.) long.
Net Weight: 490 g (17.3 oz.
Conforms to European Union directives, eligible to bear CE marking; meets European Union EMC Immunity Requirements (EN 50 082-1, 1992).
Furnished Accessories
ShureLock Elastic Shock Mount (SL model only) A32SM
ShureLock Swivel Adapter A32M
Aluminum Carrying Case (SL model only) A32SC
Padded, Zippered Carrying Bag (CG model only) A32ZB
Protective Velveteen Pouch (SL model only) A32VB
Optional Accessories
Foam Windscreen (Charcoal Gray) A32WS (Measured 0.6 m (2 ft) from a spherical sound source, free-field conditions)
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Shure KSM32 Studio Condenser Microphone (Champagne) Reviews
9 out of 10
"Shure KSM32 Studio Condensor Microphone Review."
Feature:
Elastic shock mount works fine, easy to use, reliable. I only use the shock mount, have not used the swivel mount. I don't use the -15dB attenuation switch, the sound would have to be massively loud to require its use. Wish it had omni pattern for flatter bass to 0 Hz but that is somewhat academic. Noise is low enough and not much of a factor.
Quality:
This is top quality fit and finish, there is no doubt it will work. Cables are more likely to break, not this mic. The carrying case is not a true road case and will scratch and dent easily.
Desirability:
It has wide frequency response, it hears everything.
Sound:
I own two Shure KSM32 studio condensor mics. It has a very natural sound. I bought them because when I used some Audio Technica Midnight Blues to record a band, I noticed bass guitar was missing, and also the bass drum. The frequency response curve of the KSM32 indicates it has very flat bass response. I used them on four concerts and the bass drum sounds awesome on the recording, the spectrum analyzer in Adobe Audition measures it at 54 Hz. The high end is there too, and it produced an astoundingly clear recording, of a xylophone/barred percussion. I recorded also mandolin and banjo and the bright "plucking" sounds are very delightful. I recorded a marching/concert band, and the trumpets were very nice and bright and clarinets very smooth and natural, tenor sax came through fine. The bass response of this mic, picking up wind noise outside, will rip the cones off of your speakers! The only reservation I have, is with voices, sometimes, depending on the distance, the voice will sound "whistly" or similar, at a high frequency, on certain consonants, such as "f" or maybe "s". However, it usually is very natual sounding, but not overly "warm" like SM58 or AKG D190ES. Running into a Tapco/Mackie 6306 mixer/preamp to Sony CDRW66 24 bit AD optically coupled SPDIF into 2.68GHz PC running Adobe Audition. Shock mount ez to use and very effective in isolating the microphone. My bass pickup problem solved for the time being. Have to try low "E" on the bass guitar and some pipe organ. Much better than AT Midnight Blues for bass (the AT are voice mics so that should be expected!). They don't have much hiss but when it is quiet they seem to emphasize bass ambient noise if anything, I am talking -60dB or so. As read on VU meters, I can at home studio achieve about 60 some dB SNR and without more sound proofing that is it. That is, ambient noises including computer fans etc. are becoming the dominant factor. This is a good mic, well built, solid feel, reliable, it works fine. To make it perfect they should smooth out the bumps in the high end response to eliminate the slight "buzziness" or "whistling" on voices. This characteristic sounds great on mandolin/banjo though, its not a negative thing on the instruments.
Support:
They have a good web site, did not need any interaction with them.
Overall:
Need a more "warm" or more "smooth" mic for vocals, to hear velvety smooth soft warm singing voices. This mic is "natural" not "warm". Some clients may prefer more "warm" = emphasized midrange sound. They must smooth out the high frequency response. I did not think this would be noticable from the curve, but it IS noticeable, only 3 or 4 dB; our ears are fantastic instruments.
Elastic shock mount works fine, easy to use, reliable. I only use the shock mount, have not used the swivel mount. I don't use the -15dB attenuation switch, the sound would have to be massively loud to require its use. Wish it had omni pattern for flatter bass to 0 Hz but that is somewhat academic. Noise is low enough and not much of a factor.
Quality:
This is top quality fit and finish, there is no doubt it will work. Cables are more likely to break, not this mic. The carrying case is not a true road case and will scratch and dent easily.
Desirability:
It has wide frequency response, it hears everything.
Sound:
I own two Shure KSM32 studio condensor mics. It has a very natural sound. I bought them because when I used some Audio Technica Midnight Blues to record a band, I noticed bass guitar was missing, and also the bass drum. The frequency response curve of the KSM32 indicates it has very flat bass response. I used them on four concerts and the bass drum sounds awesome on the recording, the spectrum analyzer in Adobe Audition measures it at 54 Hz. The high end is there too, and it produced an astoundingly clear recording, of a xylophone/barred percussion. I recorded also mandolin and banjo and the bright "plucking" sounds are very delightful. I recorded a marching/concert band, and the trumpets were very nice and bright and clarinets very smooth and natural, tenor sax came through fine. The bass response of this mic, picking up wind noise outside, will rip the cones off of your speakers! The only reservation I have, is with voices, sometimes, depending on the distance, the voice will sound "whistly" or similar, at a high frequency, on certain consonants, such as "f" or maybe "s". However, it usually is very natual sounding, but not overly "warm" like SM58 or AKG D190ES. Running into a Tapco/Mackie 6306 mixer/preamp to Sony CDRW66 24 bit AD optically coupled SPDIF into 2.68GHz PC running Adobe Audition. Shock mount ez to use and very effective in isolating the microphone. My bass pickup problem solved for the time being. Have to try low "E" on the bass guitar and some pipe organ. Much better than AT Midnight Blues for bass (the AT are voice mics so that should be expected!). They don't have much hiss but when it is quiet they seem to emphasize bass ambient noise if anything, I am talking -60dB or so. As read on VU meters, I can at home studio achieve about 60 some dB SNR and without more sound proofing that is it. That is, ambient noises including computer fans etc. are becoming the dominant factor. This is a good mic, well built, solid feel, reliable, it works fine. To make it perfect they should smooth out the bumps in the high end response to eliminate the slight "buzziness" or "whistling" on voices. This characteristic sounds great on mandolin/banjo though, its not a negative thing on the instruments.
Support:
They have a good web site, did not need any interaction with them.
Overall:
Need a more "warm" or more "smooth" mic for vocals, to hear velvety smooth soft warm singing voices. This mic is "natural" not "warm". Some clients may prefer more "warm" = emphasized midrange sound. They must smooth out the high frequency response. I did not think this would be noticable from the curve, but it IS noticeable, only 3 or 4 dB; our ears are fantastic instruments.
Submitted: 08/13/2004
Style of Music: Church woodwinds, concert and marching band trumpet and woodwind.
10 out of 10
"Shure KSM-32..."
Wow, Another Gret Hit From Shure...They Have The Two Most Widely Used Dynamics Available Today (SM57 &SM58), And AreThe Maker Of The Omni Present SM81 Small Diaphragm Condensor, And Now Have Introduced A Large Diaphragm With The Legendary Shure Name...These Mics Are Great On Just About Anything From Piano To Marshall Cabinets To Drum Overheads...Destined To Be Another Classic...
Submitted: 08/19/2000
Style of Music: Rock, Jazz, Classical, Acoustic...
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