The stringed instruments be- came much more prominent, of course, yet each individual sound remained focused. Update my browser now, The folks at Shure really know how to package a microphone to make one drool with anticipation. The first thing I like to do to a (non-ribbon) mic I’m testing is to blow into it. You may prefer a different mic to provide an “edgy” sound on your guitar or percussion tracks, but if you want a fairly accurate picture of your source with the rough edges taken off, this is your mic. It was just about the best sound I've ever heard.CM: The venue is a major consideration. This mic looks good! Convince the act not to have ridiculously loud monitors as they greatly affect the sound at FOH.Here at the Ryman, when all the acoustic elements come together, there is nothing greater that having a "goosebump" moment. © 2020 MIX is part of Future plc, an international media group and leading digital publisher. November 25, 2020, Linda Hansen | It's the most beautiful thing you'll ever hear.But go outside in a shed or amphitheater and it's a different story. By using our services, you agree to our use of cookies. In an environment like an auditorium with a curtain backdrop and flown speakers, you can usually get enough gain out of the microphone with only a high pass filter. It smoothes out the sound of the banjo and has the percussive sound of the instrument without any of the tinniness that you can sometimes get. Designed for studio use but rugged enough for live applications, the KSM32 has a permanentlybiased --inch diaphragm, extremely low self-noise, and an3/4 extended frequency response specially tailored for vocal … We use a KSM313 – a ribbon mic – on Ron's banjo. Those stats are not stellar, however, since more impressively numbered offerings have made their way into the market. I get all the gain I ever need and it has such a nice tone. In this application I was most impressed; the KSM32 gave the bass a well-defined low end yet retained the snappy high end necessary to assist the instrument in the fight for air space in the final mix. DR: Any tip that you've picked up over the years that you'd like to share?CM: There is no right or wrong way. This provides the modern equivalent! I've used it on the mandolin, too. I admit I was a little worried about putting a mic of this caliber in a kick drum. Sometimes, we'll also position a pencil mic like a KSM137 flanking the center position on either side for instrument solos.CM: Allison Krauss and Union Station have a five-song encore at the end of the night around a single KSM44A large diaphragm mic. Only time will tell if the diaphragm will hold up to repeated punishment. However, the microphone has been known to fill in a very complete workhorse role. All in all, the KSM32 is a reasonably priced condenser mic that holds its own on a variety of instruments. Let them know if they need to get closer to the mic. I went to Guitar Center looking to purchase a. Right now, I'm using an old favorite of mine, an AKG C535. Shure's manufacturing is affordable and durable "working class" musicians. That resulted in no comb filtering, no monitors to try to overcome, little or no EQ. A firm tap yields only the slightest rumbling in the capsule. As an added bonus, the mic body takes well to handling. When all three of them sing vocals, the one with the loudest voice backs away from the mic (usually a KSM32). If you get close to them, they're really loud. DR: Let's talk about the re-emergence of the single or two mic gather 'round approach. There is a good chance I would use the 4050 or the KSM44 instead of the KSM32 … Testing the KSM32 on several other instruments (violin, contrabass, trumpet, flute, piano and hand percussion), I found that it captures the true sound of most instruments in an open, ambient miking style evoking the warmth, smoothness and natural energy of most acoustic instruments. KSM32, Large diaphragm condenser microphone from Shure. A low frequency Response switch -6 dB/octave below 115 Hz, -18 dB/octave below 80 Hz. When I set out to buy a really good large condenser mic for my home studio, I actually hadn't even considered this mic. It also using phantom power. During this extreme torture, the distortion is there, but the capsule doesn’t bottom out. The $959 Model KSM32/ CG is the same mic but in a nonreflective, charcoal gray finish for stage applications; it ships with only the swivel mount and a pad-ded, zippered carry bag. A Shure associate since 1979, Davida Rochman graduated with a degree in Speech Communications and never imagined that her first post-college job would result in a lifelong career that had her marketing microphones rather than speaking into them. A three-position switch selects between flat response and two low-frequency cutoffs: One is a -18dB/octave slope at 80 Hz; the other is a less aggressive -6dB/octave at 115 Hz. No floor wedges. The KSM32 was solid in the low-end department: The sound was round, fat and moved considerable air on the subwoofer. Later on, close miking became the norm. The Shure® KSM32 is a side-address condenser microphone with a cardioid polar pattern. It certainly passed the mono mic test. Fortunately, the sleek look mirrors its fine performance, which is not entirely surprising, given Shure’s success with other condenser mic designs, such as the industry-standard SM85, SM87 and SM98. The KSM32 was solid in the low-end department: The sound was round, fat and moved considerable air on the subwoofer. The stage area might have a vinyl backdrop and you start picking up all the crowd noise and the ambient noise. Once it’s seated, the base rotates freely with the mic, which makes positioning an absolute breeze. The Ryman is very conducive to bluegrass. One of the greatest shows we did was an "O Brother, Where Art Thou?"