I was in the studio last week recording various overdubs for the new Steely Dan album. Walter Becker asked me if I would set up a couple of microphones to record the piano. I said "Shure, I'd be glad to."

This may be a bad pun, but is segues into the review of what turned out to be a great new Shure condenser microphone. Shure maintains the reputation of having developed the standard workhorse for dynamic microphones with the Shure 545, which later evolved into the SM 56 group of dynamic microphones. If you were on a desert island with only one microphone, your choice would probably be one of these Shure dynamics.

The new Shure KSM32 Studio Condenser Microphone may well become the standard workhorse of condenser mics. The KSM32 has a warm low end like a Neuman U87 with crisp highs like an AKG 414. The noise floor of the KSM32 was unbelievably low for a pahntom powered microphone.

The piano sound was rich yet had plenty of sparkle. I love microphones that I don't have to eq. I have just found my new standard piano mics. But wait a minute! The KSM32 sounds great for overhead drum mics. Am I going to have4 to buy more of these? The brightness brings out the attack of the cymbals while maintaining a warm tonal balance of tom and snare ambience (if it is good, I don't call it leakage). If you are recording jazz combos with just a kick drum mic and one overhead mic for drums, the KSM32 would be the choice.

How about vocals?

Vocals are always a pain in the butt. (Wrong end!) Most singers like the low end build up caused by the proximity effect when singing close to a directional microphone. It makes them sound like the DJ on a classical music station. The bad part is the pops that you have to deal with. You can slip on a foam pop filter, but that changes the high end too much. You can use one of those "panty hose" type pop filters, but by the end of the night the lead singer is wearing them over his head. (Wrong end again.) The Shure KSM32 has a unique screen design that helps to eliminate most pop and wind noises without adding additional filters. The microphone was designed with the pop filtering in place, so you don't sacrifice sound quality and only need to add external pop filters under severe conditions.

The KSM32 has a three position rolloff switch for flat, 6dBper octave at 115Hz, and 18 dB per octave at 80Hz. These help when the singer thinks you are really supposed to record his tonsils, or there are other low end rumble problems that need correction. There is also an attenuation switch that reduces the capsule output level by 15dB.

The KSM32 comes packed in a nice aluminum carrying case. The case contains a standard mic stand adapter as well as a shock mount adapter. I have used many microphones that take either a rocket scientist or a three year old to get them safely placed in their suspension mount. I have more than once looked out into the studio to see a microphone that has worked its way out of the rubber bands to be found hanging by the mic cable. The ShureLock connection on the KSM32 won't let that happen again. The microphone itself is in a velcro closed velveteen pouch nestled in plenty of foam for protection during transport.


Don't I have anything negative to say about the KSM32? Well, the only thing I could think of Is the fact that the KSM32 is cardioid pattern only. There are times when I would switch to figure eight or omni for certain situations, but the fantastic job the KSM32 does as a cardioid far outweighs this one shortcoming.

Conclusion

In the price/performance ratings I would give the KSM32 a solid 10. For what you were planning on spending for a microphone you can have a pair of KSM32s. Today you can walk into any studio mic closet and see a shelf full of Shure SM56 dynamic microphones. I'll bet that by this time next year you will also see a shelf full of KSM32 Studio Condenser microphones. This may end up being Shure's workhorse for the next 20 years.

When the salesman at the music store asks you if you are looking for a new microphone, tell him "Shure!"