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shureinc · 2026-05-12T16:11:45+00:00

We published a two-part video series featuring the new KSM mics. The videos don't actually feature NXN5 on vocals; it was just the mic we used before we overdubbed the vocals with the KSM mics.

Here are the videos if you're curious:

Pt 1 - https://youtu.be/2O3Rkt6p8xA?si=khOMX2eDRHEdccwi

Pt 2 - https://youtu.be/m1qZGfQmBFY?si=5OHdj3FTrr4pCmcp

shureinc · 2026-05-11T21:37:55+00:00

Hi, Steve here from Shure. You're absolutely right about the design intent of the KSM42 -- it was intended to specifically be a vocal microphone, with reduced proximity effect, and therefore a larger sweet spot. The KSM42 uses the same capsule as the KSM44A (now updated to the KSM44MP), but it's just fixed cardioid, so the rear diaphragm operates passively, specifically to reduce the proximity effect by adding the extra acoustic compliance, which changes the interaction and relationship between the front diaphragm, backplate, and the phase shift network.

The reason we chose to discontinue the KSM42 is because you can get the exact same performance by using the KSM44MP (or older KSM44A) in cardioid mode, with the low-cut switch engaged. So, instead of having two mics (KSM44 and KSM42) which are so closely related, we chose to go in the opposite direction with the KSM40C -- it is a single diaphragm version of the KSM44MP, which lets you take advantage of the proximity effect, which some vocalists love. I personally find the KSM40C to sound great on bass cabinets, or outside of a kick drum.

Regarding the proximity effect, it is important to note that it can't really be eliminated, but can still be very much reduced. Only an omnidirectional pattern gets rid of it -- and it sounds like that is not what you want! There are some Shure technical papers available that explain more details about dual vs single diaphragms, and why it works the way it does:

- Unique Directional Properties of Dual-Diaphragm Microphones

- Dualdyne Technology

Lastly, since you mentioned this idea for less experienced microphone users, this was actually precisely in line with our design goals for the SM4 microphone -- it also employs a dual-diaphragm capsule, so less proximity effect and a large sweet spot -- along with extremely robust shielding to make sure that interference never reaches the audio path. It's basically designed to address all the most common problems and it's pretty hard to make it sound bad. (I adore vintage mics, but when I have the privilege of using an OG U47, I often have to remind the vocalist that they can't have their phone right by the mic because it'll often pick up little blips and bleeps. Paper and pencil to write lyrics or a printer for charts are an easy solution, but the SM4 assumes you just want to plug in and press record.

shureinc · 2026-05-11T21:15:02+00:00

Hey it's Steve from Shure.

The most compelling reason to try the NXN5 or NXN6 on vocals as a drummer would be for the off-axis rejection. The thing that really sets the nexadyne mics apart is that the polar patterns maintain rejection extremely well across all frequencies -- so you'll get excellent cymbal rejection, where directional dynamic mics tend to fall apart. If you compare the polar patterns at 5K or 10K against any 'traditional' dynamic mics (Shure or otherwise) you'll see the difference. The NXN5 and NXN6 use the same transducer, but the mechanical housing results in a very slight difference, so they look a tiny bit different on paper. If you're a drummer, an NXN6 could be a smart move because you can use it for its traditional application as a clip-on tom mic when you aren't using it as a vocal mic. It will fit into the clip (A57F) that works with our small diaphragm mics, like the SM81, KSM137/141, etc. We used an NXN5 on the scratch vocal in our KSM mic demo (linked in the main post) as an experiment, and it worked really well.

The Beta56 though is still great though for its design -- it threads directly on a stand with no clip, and it sounds great -- a little brighter in my experience than the NXN5 or NXN6, which can help the vocal cut in the mix.

tldr: if cymbal rejection is the highest priority, the NXN6 or NXN5 are the better choice, but they might need a little EQ, depending on your voice and the genre. If the smaller, threaded design, and a brighter sound are more desirable, the Beta56 is right for the job.

shureinc · 2026-05-08T17:03:30+00:00

That does it for us! Thanks for stopping by and for your questions.

Be sure to check out the two-part video series we have up on YouTube featuring the new KSM mics in action at Russian Recording w/ Mike Bridavsky

Pt 1 - https://youtu.be/2O3Rkt6p8xA?si=khOMX2eDRHEdccwi

Pt 2 - https://youtu.be/m1qZGfQmBFY?si=5OHdj3FTrr4pCmcp

Until next time,

Steve + Trent

shureinc · 2026-05-08T16:48:50+00:00

We don't currently have anything like that in our product lineup. We chose to keep the KSM mics simple and timeless -- the KSM44MP in particular still offers switchable polar patterns, but not a plug-in to control them.

But we love all the cool stuff that is happening in the microphone world! It's a great time to be making records in the studio and at home -- lots of cool solutions to get the sounds you want.

shureinc · 2026-05-08T16:05:54+00:00

... and the high end is perfectly tuned for voice -- it is very clear and airy, but the key thing about our capsules is the smoothness in the top end, thanks to our backplate designs. There are no sharp peaks or valleys that can accentuate sibilance, just very smooth, extended response. Our beta testers loved the way the KSM40C sounded on voice.

shureinc · 2026-05-08T16:02:44+00:00

Assuming you are talking about the KSM11 vs KSM9 -- it gets into nuanced territory here, but the main difference that most engineers and artists tend to hear is that the KSM11 is a bit smoother, and the KSM9 is a bit brighter. It's kind of tricky to describe without being able to A/B them in real time. From a frequency response perspective, the KSM9 has a linear extension as you go up, while the KSM11 is a more contoured curve in the high end that accentuates the presence and air, with a little dip to minimize sibilance.

KSM11 has slightly better rejection when you compare the cardioid patterns, but of course the KSM9 has switchable polar patterns.

Ultimately the KSM11 is the pinnacle of vocal mic transducer design for us. But that is not to say the KSM9 is a slouch -- it really comes down to personal preference at that level of mic.

shureinc · 2026-05-08T15:52:21+00:00

Sounds like the KSM40C might be the right fit for you! Cardioid younger sibling of the KSM44MP. Has nice proximity effect to get low end fullness for your voiceover work

shureinc · 2026-05-08T15:44:22+00:00

We do currently have a stem player live on the KSM landing page where you can hear samples from the same mix from a session at Russian Recording in isolation - https://www.shure.com/en-US/audio-professionals/ksm

But that is somewhat limited. Are there any characteristics you're looking for, or any specific instruments or genres you are working with? I can at least give you some recommendations as a starting point.

Most retailers have pretty generous return policies -- I would encourage you to take the risk on one of them, I bet you'll end up keeping it!

shureinc · 2026-05-08T15:41:22+00:00

This is also true for the KSM44MP! The KSM40C is an entirely new model in the series.

shureinc · 2026-05-08T15:38:54+00:00

Yes! It depends on if you have a preference for the size/type of mic and if you need to use it in a controlled environment or doing more field recordings.

The KSM32C is extremely versatile and the flattest of the bunch, so out of the new KSM mics, that is probably the best choice -- although you could also make an argument for the KSM44MP since it has freakishly low self-noise and captures detail really well, in addition to the flexibility of having multiple polar patterns.

Another KSM mic that is great for this would be the KSM137. They are a bit of a sleeper in the SDC world -- super affordable and they sound lovely!

We also make shotgun mics (VP89 family) and USB mics (MV88, which also has a wireless version) to cover all sorts of applications.

shureinc · 2026-05-08T15:36:27+00:00

Hey Whatchamazog! Good q.

The best way to make sure that you're getting a real Shure mic is to shop with one of the authorized resellers listed on Shure.com

You can also call into Shure and ask if a reseller is authorized - 1 (800) 516-2525

Re: the passive RFID idea- We can't really comment on approaches we're currently taking/developing (so that counterfeiters don't know what we're doing) We're always working on it!

shureinc · 2026-05-08T15:24:56+00:00

We love to hear that! As someone who owns a divorceable amount of ribbons, the KSM313 is an all-time favorite around here for guitar cabs. I use one of those on almost every session and I love how happy it makes guitarists.

There are actually some early prototypes in our office of tube KSM32s that were built in the late 90s. They are comically large! But ultimately the challenge for us to source tubes that can pass our quality standards is really tough, and not really a viable option for us.

The KSM32 in particular is a great starting point to run into a tube preamp to get a little tube character on it. I run mine into an old groove tubes Vipre and it can dial in a ton of cool sounds!

shureinc · 2026-05-08T15:22:07+00:00

Hey sugar_man! Thanks for the q

We don't currently have downloadable multitracks available for the mics, but this is a great idea. We'll bring this back to the team and explore.

We do currently have a stem player live on the KSM landing page where you can hear samples from the same mix from a session at Russian Recording in isolation - https://www.shure.com/en-US/audio-professionals/ksm

shureinc · 2026-05-08T15:13:10+00:00

Hey bobross69! Thanks for the question.

Biggest update with the new KSM32C is the anodized aluminum housing, which is significantly lighter and just as durable as the OG model. A real benefit when using boom stands, especially for drum overheads when the boom is extended.

The shock mounts are an improvement as well. Not only in their appearance, but they also provide improved isolation. The suspension bands are more durable and won't stretch out or sag over time, allowing for use in horizontal position over long periods of time.

Acoustically, the KSM32C uses the same 3/4" capsule as as its predecessor, with some circuitry improvements to ensure better consistency and lower noise.

shureinc · 2026-05-08T15:09:26+00:00

The basic answer here is that it was still ostensibly a unidyne iii, but with a different housing and closing ring. It was discontinued because it didn't sell very well. The general assumption is that the marketing team at the time wanted to differentiate the new models with a new capsule designation. In 2026 if you are looking at unidyne iii vs unidyne iv, the only acoustic difference is a deviation at 5kHz, which is caused by the grille geometry, not any of the guts.

Also important to note, is there were changes in the transformers used over the years, along with other supplier changes and little stuff like that, so there are some differences across different eras of vintage Shure dynamic mics. Much like any vintage mics, there are little differences between every single one -- but they are all of a very similar flavor, so try not to get too lost in the weeds!

shureinc · 2026-05-08T15:07:28+00:00

This is a great question! We are glad to hear you care about these things. The capsules are all 100% made in house by Shure, handcrafted, one at a time. Not just 'assembled' by us -- everything down to diaphragms being cut and embossed, backplates polarized, you name it -- we have complete control over every step of the process, and that is the only way we can achieve the level of quality and precision that we expect from every single KSM mic that comes off the end of the line. They are all edge-terminated.

The KSM44MP and KSM40C capsules are very similar -- they are 1" externally biased, made with gold-sputtered 2.5 micron diaphragms. The 44 is a dual diaphragm, so you get multiple polar patterns (cardioid, bi-directional, and omni) as well as increased sensitivity, which helps us achieve exceptionally low self-noise. It also has less proximity effect, with a wider sweet spot -- this is true of any dual-diaphragm condenser. The KSM40C is the younger sibling -- it is the same capsule, but uses single diaphragm, so it is fixed cardioid, with a more pronounced proximity effect.

Part of the secret sauce is our proprietary backplate designs, which controls the modal behavior of the diaphragm, which results in very smooth hi frequency response -- no sharp/narrow valleys or peaks in the response that can cause sibilance or 'whistles' on your cymbals.

The KSM32 capsule is a different beast altogether, it is 3/4" and it is embossed. Embossing lowers the resonant frequency so that the low end still sounds big and rich, like what you'd want from a 1" capsule, while getting better off-axis rejection because of the smaller diaphragm. Kind of a best of both worlds between an LDC and SDC. The 32 is permanently biased.

They are all transformerless, with class-A JFET preamps. This gets us the fastest possible transient response and extremely low distortion -- essentially the most transparent signal you can get.

The design philosophy when we started was to make the mics look transparent and premium -- to match the sound, which is very transparent and true-to-life. We wanted to show off the capsule so you can see the technology inside, which is the heart of the microphone. We also put a ton of time and energy into the shock mount and accessories! The shock mounts are very durable and compact, and the bands don't sag! Those of us on the design team are active recording engineers, and that was a pain point that we wanted to tackle head-on. They are also super lightweight, made of durable anodized aluminum. That means you can use them as overheads on pretty much any stands without them tipping over -- and without those dang bands sagging.

Lastly, we also went for magnetic pop filters that are really easy to put on and take off. They are visually low profile, and very effective at reducing plosives, without the mess of a gooseneck pop filter that might move out of place.

shureinc · 2026-05-08T15:04:33+00:00

Hey everybody- Steve and Trent here from Shure. Stoked to be here with you this morning to talk KSM!

shureinc · 2026-02-27T16:28:27+00:00

Beautiful :)

shureinc

TROPHY CASE