The podcasts I actually listen to for fun are nearly all terribly recorded. I won’t name them for their sake as well as mine. But as Podcast Listener Dev, how well something has been recorded plays far less into what makes me want to listen to a show than what Podcast Editor Dev thinks.

So the question of whether built-in microphones -be they phone, laptop or webcam – are good enough for podcasting is an interesting one, because the simple answer is ‘it depends’.

*(I looked this up later and it turns out the actual proverb is ‘The shoemaker’s children go barefoot’)

What Do Built-in Mics Actually Sound Like?

To get an idea of what we’re working with, I did a little audio test with my phone (a Samsung Galaxy A21s), my Zoom H1 recorder, my webcam (a Logitech C310 HD), and the Rode NT1-A mic I have attached to my desk. Matthew did his own “mic shootout”, too, testing out the built-in mics on his phone, laptop, Zoom H5, and SM58.

From the raw recordings, the webcam is the only one I think is a problem to listen to (add my laptop to the mix! – Matthew). It has a noisy, Zoom call quality to it. The phone mic is perfectly usable for podcasting, at least in the interview/chat podcast format. I’ve edited much worse.

A little EQ, some compression, a touch of noise reduction, and all of these recordings are perfectly serviceable. But are they good enough for podcasting?

Before we can decide that, we, unfortunately, need to turn this little space into a first-year philosophy class by asking: what do we mean when we say ‘good enough for podcasting’?

What Is ‘Good Enough for Podcasting’?

To begin with a vast generalization: podcasting has nearly always been a conflation of two worlds: professional radio, and nerds. For every polished, high-concept, NPR-style creative non-fiction show, there is a tech specialist recording into their headphone mic going point by point through the latest update of Linux. For every You Must Remember This, there’s a show where four friends sit around a table and talk, without structure or length concerns, about their favourite films.

Podcasting is a unique medium where media conglomerates contend with hobbyists; it is the chaotic media utopia the early internet promised us.

Both worlds, professional radio and nerd, are equally valid. But how do we then quantify what is ‘good’ when talking about recording quality?

Let’s imagine we compare two podcasts: one is all Shure SM7Bs but no mic technique, and the other is an interview recorded in an untreated room with one Blue Yeti but is relatively clean without loud plosives or mouth noises.

Which one do we say is better on a technical level?

Very much like a first-year philosophy class, there isn’t really an answer, only more questions. So here’s another one…

Who Is Your Podcast For?

If you’re considering making a podcast and using in-built microphones, an important question that will go some way to helping you decide is: ‘Who is this podcast for?’ because podcasting is different things to different people. 

The first podcast I was ever involved with was as a guest on an improv comedy show. I remember sitting in a very warm and sticky study room in the University of Stirling library, playing improv games with some of my friends around a Snowball microphone. Another friend started a movie review podcast as a way to organise weekly cinema trips with their flatmates. That was recorded by placing a Zoom H4n on the coffee table in front of the sofa that everyone sat on and using the internal stereo microphone to record everyone’s musings.

One of my favourite podcasts of all time is Curtis and Morris: Quicktalking Funtime Adventures. Here, two friends, Oliver Morris and James Curtis, write, perform and produce audio letters to each other, experimenting with sound design, building ongoing little stories together but with each host demonstrating their unique way of telling stories. It’s a brilliant encapsulation of the creative possibilities of narrative audio and what can be done in the podcasting medium.

I’ve never seen Curtis and Morris: Quicktalking Funtime Adventures advertised anywhere, the name alone is an SEO nightmare. The only reason I know about it is that I know the hosts. In fact, when I told James Curtis I had been listening he said, ‘Ah, so you’re the reason we’re getting a bump in downloads this week’.

I think hobby podcasting gets a bad rap sometimes, but there is a place for people making podcasts with no resources for fun. If anything, it should get more of a place than it has. It is completely valid and absolutely okay to make a podcast just for the sake of making a podcast. If your answer to the question ‘Who is this podcast for?’ is for you, your friends, your TTRPG group, your study group, or even for no one in particular, then recording quality is much less of an issue. Generally, in-built microphones will do you just fine. As long as you’re okay with the audio quality, then it doesn’t really matter all that much.

But wait! There is another question…

What Do You Want Your Podcast To Be?

When I started making my first audio drama back in 2016, all I had to record with was a cheap $30 condenser microphone and a laptop that sounded like a small helicopter whenever I asked it to do anything. At that point, I was making something for me, and just me. I didn’t think anyone would actually listen to this weird little sci-fi story I was putting together.

I didn’t really have a plan when I made that first episode (which you can still listen to, by the way). I didn’t ask myself the second important question: ‘What do I want this podcast to be?’

If you want to be a bit more serious about podcasting, in-built mics are still a fine place to start, and a good way to test the waters before taking the plunge into the murky world of professional audio recording. Starting with what you know and using the equipment you already have is a smart option. I have advised many, many people interested in becoming podcasters, and some will go on to buy a setup that is, incidentally, more expensive than my own, only for it all to sit and gather dust in the corner of their offices.

That being said, if you want to be a Podcaster with a capital P, sooner or later, you’re going to need a proper microphone, a way to record and edit audio, a logo, a marketing plan, and, if you’re very very very lucky, a budget.

I didn’t ask myself what I wanted my podcast to be. But I knew that the overall goal was that I wanted to make audio my career, so when it was feasible, I upgraded my setup. I got a better microphone, a better computer, and better software. I’m happy to say that it worked in the end (eventually), and while I can’t say that the equipment helped, I think taking myself seriously definitely did.

Audio is Becoming More Accessible

People used to think to record good music, you needed a professional studio, a wall of amplifiers, and a big mixing desk with a bearded engineer wearing sunglasses producing it for you. Then home recording came along and destroyed that mindset. I think podcasting can be that for radio; in fact, it already has been. 

In-built phone microphones have gotten pretty good at recording clean audio. Sometimes it’s even preferable: I’ve had actors record parts for audio dramas on their phones. I created a whole ethereal choir of voices made up of phone recordings from listeners for my series Anamnesis. I’ve made entire series based around the curious sonic qualities of phone audio compression.

I think many people are put off making podcasts because podcasters take themselves too seriously (I include myself in that). We want audiences to take our medium seriously, and the only way that will happen is if we project an image of professionalism and quality and, unfortunately, money. There’s a reason why the SM7B has become something of an industry standard, it sounds excellent, and it also looks good. It looks and sounds expensive…because it is.

And that can be discouraging.

Microphones can be expensive, computers are expensive, studios are expensive. Not to mention the vast sea of product information out there and what happens if you spend all your money on the wrong kind of microphone, or a computer that doesn’t quite do what you need it to. Or software that doesn’t quite fit how you work.

Luckily, there are free programs out there for editing audio, there are free audio plugins to help you clean up and level out your episodes, there are places where hosting is free (though always check the terms and conditions for who owns the copyright to your audio), and while I can’t point you to a place where you can (legally) get free microphones, you already have one built into your phone, tablet, or laptop. And it’s as good as anything else out there for turning audio into a podcast.

In short: instead of worrying about tech stuff, go make your podcast. Make it scrappy, make it imperfect, make it in such a way that you make audio nerds like me gasp at the crudeness of it, and make your listeners fall in love with it.

“Choose your tools carefully, but not so carefully that you get uptight or spend more time at the stationery store than at your writing table.”

Natalie Goldberg.

You can break podcast equipment into categories based on how you record and capture your voice, from mic to mixer to recorder to computer.

The recording process can be as straightforward or as complicated as you like. You can record right into your computer without any mixers or recorders. Or you can go the full studio route.

If you use minimal kit, the process will be simple, but you’ll also have less flexibility and control. This isn’t an issue for most aspiring podcasters, though, as they’ve no intention of becoming an audio engineer – they just want to get their message out there.

If you fall into that bracket, this podcast equipment and setup guide is for you. Here, we’ll look at what you might need and why you might need it when you’re planning to start your first podcast…

If you need to zoom out first, see everything you need to record a podcast, from planning to software.

Editor’s Note

Our ‘Best Podcast Equipment & Setup’ guide was initially written in 2014. We update this post periodically to reflect changes in technology, our recommendations, and because we’re always learning new things. This post uses affiliate links to products we think you’ll find interesting. We would earn a small commission should you choose to buy through them – never at any extra cost to yourself.

Types of Podcast Equipment (And Why Podcasters Might Need Them)

Let’s run through the various pieces of equipment commonly used to record a podcast, then. We’ll start with the microphone, then look at things like recorders, USB interfaces, and even headphones. Let’s dive in…

The Microphone: Podcast Equipment & Setup

You might imagine the typical musician’s mic when you think about a microphone. And, whilst you can absolutely use one of these to podcast, it’s worth noting that mics come in many forms, shapes, and sizes.

The bottom line is that a microphone is simply the tech needed to “hear” your voice and send it to be recorded somewhere. This makes it the first part of our recording “chain.”

So what options are available to us when thinking about our microphone?

Here are the main types, with links to our guides. Or, read on to get a summary.

• Read More: Best Podcast Microphones of every kind
• Read More: Best USB Microphones for Podcasting
• Read More: Best Headset Microphones

USB Microphone

A common and simple piece of podcast equipment is the USB microphone. Often these are condenser mics (as opposed to dynamic microphones), which plug straight into your computer via – oddly enough – a USB cable. USB mics are ideal for beginners, especially folks who do solo/monologue-style shows, and those running online interview podcasts. Almost all of these mics have a Cardioid polar pattern, which means they are designed to pick up the voice of one single speaker at a time.

Check out our USB mics roundup to look through our favourite options.

XLR Microphone

XLR mics need additional equipment to run them. They don’t plug straight into your computer but instead go into an interface, preamp, mixer, or digital recorder (more on these all later).

You can actually get interfaces, mixers, and digital recorders in USB form, though. So you can run an XLR mic into your computer, just not directly.

XLR mics are suited to folks who want premium audio quality and a lot more production flexibility, as well as those who don’t want to be tied to a computer at all times. Check out the best podcasting mics roundup for our top picks there.

It’s a good idea to look for microphones with a shock mount and a built-in pop filter. Or, you might think about tagging a stand-alone double-layer pop filter onto your purchase. These two tools are precious for podcasters working at the same desk they’re recording from and will help eliminate unwanted noise.

Condenser or Dynamic Microphones: Best Quality?

Whilst XLR and USB tell us how the mic is connected (and what it’s connected to), the terms “condenser” and “dynamic” tell us how the mic is built and how it functions. XLR and USB mics can be either dynamic or condenser, though it’s common for USB mics to fall into the latter category.

We have an in-depth breakdown of the difference between dynamic and condenser mics, but the succinct (and highly simplified) version is this:

Dynamic – more robust, more forgiving of sub-optimal environments.

Condenser – more nuanced for vocal recordings.

There’s no “best” answer here. Only what works best for you.

Recording Devices That Include Mics

You probably already carry a mic around with you in the form of your smartphone. You can turn this into a podcast setup by adding the Rode SmartLav+ and SC6. This kit is ideal for on-the-go recording and location interviews.

Phones and laptops have built-in mics that some would consider good enough for podcasting. As is commonly the case with audio, the “good enough” part is entirely down to your own opinion.

Alternatively, there are a lot of high-quality digital recorders on the market. You can record directly into these or plug additional mics into them. Again, these are a great option for someone looking for a flexible and portable setup.

The Recorder: Podcast Equipment & Setup

And speaking of digital recorders, we now need a podcast equipment option for actually capturing and storing your audio. This could be anything from a phone, to a computer, to a dedicated digital recorder itself.

Digital Recorders

A dedicated digital recorder is an excellent option for someone who wants to podcast on the go but is looking for a level of sound quality above what you’ll get with a smartphone.

On top of that, digital recorders offer a lot more settings and options for creating audio because that’s what they’re literally built for. You don’t necessarily need an additional mic to record into one because most of them come with built-in mics. Additional benefits include built-in SD card slots and multiple input(s). The SD cards can be handy when you want to quickly drop some audio files over to your desktop and can’t be bothered to relocate and plug in all your equipment.

Computers

There are many options available to you when it comes to recording directly into a computer. You can use a DAW (Digital Audio Workstation) like Audacity or Adobe Audition (check out our comparison of the two!) for starters. Or, if you’re looking to record online/remote interviews, there are plenty call recording options on the market nowadays too. Check out our podcast software guide for more on this front.

You also might want to look at our best computers and best laptops for podcasting if you’re in the market for something optimal.

Smartphones

There are a tonne of recording apps out there that’ll enable you to record directly into your phone. You probably have a default recording app on there already. But here are a few options if you want to upgrade your sound and range of flexibility.

• Best Audio Recording Apps for Android
• Best Audio Recording Apps for iOS & iPhone

Recording into a phone can be really convenient, though it lacks the flexibility and options of a dedicated digital recorder. Nevertheless, it’s often a great starting point for many, and you can always upgrade your equipment further down the line.

Mixers & Audio Interface Preamps: Podcast Equipment & Setup

You don’t actually need an interface or mixer to podcast, but many podcasters do still utilise them. So why might you consider getting one?

• If you want to use an XLR mic.
• If you want to use multiple mics.
• If you want to record live, or “as live” – with all your music, SFX, etc. played in real-time.
• If you want to incorporate multiple audio sources into your recording.

My favourite interface is a little USB device called the Focusrite Scarlett 2i2, but there are other good USB audio interface options for podcasters on the market, too.

On the mixer front, there’s a growing argument that they’re no longer necessary for podcasters who want all of the features listed above. Podcast-specific devices like the Zoom PodTrak P4 and Rode Rodecaster II are much better options these days, in my opinion. That said, if a mixer is still something you’d like to shop around for, here’s our best podcast mixers roundup, which will give you a few options.

Headphones: Podcast Equipment & Setup

Headphones are a vital part of the podcast equipment lineup.

You should constantly monitor your recordings, even when doing a solo show. This means using a pair of headphones whilst recording so you can hear exactly what’s being captured. The benefit of doing this is that if there are issues, you can fix them right away.

You’ll also need headphones to hear your guest if you run an online interview show. They come in handy for listening back to recordings and for editing audio too. Check out our best podcast headphones roundup for a few great options there.

If you’re recording in person and your audio mixer only has one headphone jack output, you can use a headphone splitter. This means both you and your guests can wear headphones, though you won’t have any individual control over the volume.

Acoustic Treatments

You can have the best podcast equipment and setup in the world, but if you stick it all in a poor-quality room, your show will sound terrible.

Acoustic treatment for reverb in your room is key. We have a full guide to setting up your podcast home studio that includes everything from utilising acoustic blankets to popping your mic into a cat bed or building a “cloffice” space. Of course, you’ll want to eliminate unwanted background noise (ambient noise) as much as possible, too.

Bottom line – if you get your environment on-point, even the most no-frills budget podcast setup can sound top-class. And, there are more premium and expensive options, too, if you don’t want to spend your recording sessions under a duvet. Check out our full guide to tackling reverb for a deeper dive.

Other Podcasting Gear: From Pop Filters to Boom Arms

Podcasting equipment rarely works in isolation, and you can add a few other pieces to your setup to really enhance your sound.

Even if your mic has a built-in pop filter or windshield, it’s still a good idea to experiment with an external one. This means you can get up close with the mic, giving your voice a more intimate sound, without popping plosives everywhere.

A pop filter will attach to your mic stand or boom arm. These are also good bits of kit to make part of your podcast setup because they help eliminate handling noise.

There’s a whole new world of cables and connectors to explore, too. Though, fear not, you’ll almost always be using XLR or USB!

Podcast equipment will only work as well as you use it, and these additional gizmos can help make your show sound more professional overall.

Editing, Audio Production, & Publishing

Once your podcast has been recorded, you will likely want to edit it. How much editing (if any!) you do, is entirely up to you. See how much editing should I do in my podcast? for more on that.

When we get to this stage, the “podcast equipment” side of things is really just as simple as a computer or laptop. It’s what software and tools you use on your machine that you need to give thought to.

Audacity & Adobe Audition

On the editing front, you can choose one of the many software options out there. I’ve mentioned DAWs (Digital Audio Workstations) like Audacity and Adobe Audition; these are both great post-production options.

Both allow you to edit and produce in multi-track. These tracks can be used to move around and position various audio files to build your final episode. You can also save these sessions as projects or templates, too. So you can have your music, transitions, and effects in place for each new episode.  

Alitu

If you want to do some editing, as well as add in some intro and outro music, but you don’t want to learn how to use a DAW, then check out Alitu. Alitu is our own “podcast maker” software that makes it easy to record, produce, and publish your podcast, even if you know nothing about audio. Again, you’ll just need a computer to run it.

Alitu has a call recorder built-in, and it’ll do all the levelling, noise reduction, compression, and EQ for you automatically. You can also host, publish, and distribute your podcast via Alitu’s hosting, which brings us nicely to the next part of the chain…

Podcast Hosting

In order to publish your podcast for the world to hear, you need to sign up for a media hosting provider. This is basically where your podcast lives online, and the hub where places like Apple Podcasts and Spotify will look to pull all your content from.

You’ll find our favourite podcast hosting platforms right here. Each one has its own unique features, and there’s something there to suit any podcaster, no matter their skill level, motivation, or budget.

Podcast Equipment FAQ

We get asked a lot of questions about podcast equipment in our IndiePod Community. Here, we’ll answer some of the most frequent.

What’s the Best Podcast Equipment Setup for Podcast Interviews?

Podcast interviews are done either locally (in person) or remotely. If you’re going remote, your setup can be as simple as a USB mic. You’re essentially recording just like a solo podcaster and relying on remote recording software to take care of the tech.

Alternatively, you can use equipment rather than software for remote recordings. Audio mixers are traditional options, whilst there are podcast-specific interfaces these days, such as the Zoom PodTrak P4 or the Rode Rodecaster II.  

The PodTrak P4 and Rodecaster work well for in-person recordings, too. They have multiple XLR outputs so that guests can get their own mic. They can also wear headphones with their own individual volume control!

Whether you’re recording remotely or locally, having each guest on their own mic and audio channel will give you better quality audio. This individual control can go a long way to creating consistency and balance and minimising unwanted background noise.  

Do I Need Any Gear for Podcast Music?

Not unless you’re a musician planning to make your own, no. Podcast music is typically added in the post-production and editing phase. That said, you can use certain types of equipment to play music and effects “as live” during your recordings. This works particularly well for live broadcasts and saves you from having to edit them in later.

Podcast mixers are great for this purpose, as are pieces of kit like the Zoom PodTrak P4 and Rode Rodecaster II.  

Podcast Equipment Choices on Amazon

Amazon has an entire section dedicated to podcast equipment. There are very few bits of kit you can’t pick up on Amazon, and you’ll find many an affordable option on there. Remember, there’s no “one size fits all” podcast equipment option, but the podcast starter kit from Samson is as close as we’ve seen.

What About Equipment for Video Podcasts?

First up, be wary of anyone telling you that you need to add a video component to your show. Many successful podcasts are 100% audio-only, and many others who run video will tell you that their video views are dwarfed by their audio downloads.  

If you do decide that you’d like to publish video as well as audio, then this is going to add a few pieces of kit to your setup. We cover this in full in our dedicated video podcasting guide. But the big three are an HD camera, a tripod, and some lighting!

Podcast Equipment Is a Means to an End

I mentioned already that most people don’t get into podcasting to collect loads of fancy and expensive audio equipment. Some folks do end up doing that, of course, but you definitely don’t need to.

It’s better to start simple so you can focus on your actual content, rather than whether or not your long chain of gear is all working correctly. Over time, as you grow, you can tweak and upgrade things here and there.

Summary: Best Podcast Equipment & Setup for Beginners & Pros Alike

Let’s sum things up by going full if…then. Here’s how you can decide what gear you need:

1. If you’re recording solo, or recording interviews online, then:

Get a Samson Q2U mic

2. If you’re recording two people in person, on a budget, then:

Get a Smartlav & SC6 podcast setup

3. If you’re recording two or more people in person, either on the go or in-studio and have the budget for high quality, then:

Get two or more Shure SM58s and the Zoom PodTrak P4

The Samson Q2U is our most recommended mic and suits 90% of new podcasters perfectly. It functions as both a USB and XLR mic, so if you decide to upgrade to a recorder or interface further down the line, it’ll work with them too. It’s also excellent value, and well within most folks’ budgets. You’ll often find the Q2U available in bundle deals with other podcast equipment, such as a boom arm, pop filter, and headphones. This makes for an ideal podcast starter kit.

Aside from that, it’s hard to make any one-size-fits-all recommendations because there are so many variables. But remember, when it comes to recording, editing and publishing, then be sure to check out our podcast production app Alitu.

And, if you’re looking for more help or guidance towards any aspect of podcast equipment then have a look at the IndiePod Community. It truly is the best place to learn, grow and connect on all things independent podcasting.

This is our definitive guide to the best podcast microphones around, for every budget & ability. Choose your gear, right here!

Why is a Good Podcast Microphone Important?

It might seem obvious, but it’s a question worth asking – Why bother investing in a good podcast microphone at all?

However you record, there’s no denying that a podcast recorded on a decent-quality microphone is massively more professional than someone blabbering away on a tinny headset mic.

After all, it’s the mic that captures your voice and translates it from physical sound waves into digital bits and bytes.

Just to let you know, all of the product links in this article are affiliate links. That means we get a small commission if you buy anything, but it doesn’t cost you any extra. Don’t worry; we’re always honest, open, and impartial with our reviews – we only recommend the good stuff – but this affiliate income helps us keep the site running.

Editor’s Note

Our ‘Best Podcast Microphones’ guide was originally written in 2013. We update this post periodically to reflect changes in technology, our recommendations, and because we’re always learning new things.

Should I Choose an XLR or USB Microphone?

XLR and USB simply refer to the type of cable a mic plugs in with. XLR mics are considered to be the more professional, but many USB mics are good enough to go toe-to-toe with them these days. If you buy an XLR mic you’ll need some additional kit (like a USB Audio Interface, Mixer, or Podcast Recorder) to run it into, whilst USB mics work right out of the box. Some podcast microphones actually do both, though, so you can have the best of both worlds!

Should I Choose a Dynamic or Condenser Mic?

The terms “Condenser” and “Dynamic” refer to two different ways microphones are built, and function. Both types of mic have their potential pros and cons. Dynamic mics are often more durable and can handle high volumes without distortion. Condenser mics, on the other hand, are often capable of recording a more crisp and detailed sound. These are broad generalisations though, and there are always exceptions. Here’s our full guide to Condenser Vs Dynamic Mics in Podcasting for a deeper dive on the subject.

Best Podcast Microphones for All Budgets & Prices

We’ve organised this Best Podcast Mics roundup by cost to make your choice as easy as possible.

Budget Level Podcast Microphones for Under $100

A good podcast microphone can cost hundreds of dollars, but luckily there are a lot of much more affordable options.

Don’t let the term “Budget Level” put you off – I only recommend good quality kit! These are relatively cheap, though, and very easy to set up, so they’re well-suited for beginners. But, I know many a veteran podcaster that still uses this kit, even years down the road.

1. Samson Q2U

• Average Cost: $70 (check prices on Amazon)
• Connection: XLR & USB
• Function: Dynamic
• Pros: Our favourite podcast mic of all time
• Cons: Can be difficult to buy in certain regions

The microphone that I often recommend people start off with is the Samson Q2U. This is a really versatile little beast, being both XLR and USB. It’s also a significant quality increase over a cheap headset mic or your internal microphone.

The dual output (XLR & USB) means that you can plug it directly into your computer via USB, recording to Garageband or Audacity. Or, use that USB mic to run an online call with remote guests.

Then later on in your journey, when you get yourself an audio interface or a decent digital recorder, you can change to XLR. The other benefit of the Q2U’s dual output is that you can easily back up your recordings. This means even if one device crashes or runs out of batteries, you’ve still got a copy of your session.

2. ATR2100

• Average Cost: $80 (check prices on Amazon)
• Connection: XLR & USB
• Function: Dynamic
• Pros: Almost identical to the Samson Q2U
• Cons: Similarly, availability can vary depending on your region

An alternative, and very similar mic, is the ATR2100. There’s not much to tell between the two, and it all comes down to availability. Depending on where you are in the world, one might be easier to find than the other.

These mics are ideal for heading out and about, capturing live audio interviews.

3. Rode Smartlav+

• Average Cost: $53 (check prices on Amazon)
• Connection: 3.5mm
• Function: Condenser
• Pros: Super portable, fits in your pocket
• Cons: Sound quality isn’t as good as most XLR or USB mics

The Rode Smartlav+ is a lavalier or tie-clip mic, specifically built for smartphones. It works like a dream on any modern phone with a 3.5mm input (or a 3.5mm > lightning adapter for new iPhones).

I love this little mic for two main reasons:

1. It’s tiny! You can have it in your bag ALL the TIME, for just-in-case interviews.
2. For a minuscule little package, it sounds great.

Even better, the Rode Smartlav+ can be bundled with the SC6 adapter to plug a pair, of mics into one Smartphone.

Because of this versatility, suddenly, you have an on-the-go in-person interview kit that’s smaller than your wallet! Just bumped into Prince Harry in the street? Well, whip out your smartlavs and grab a great quality interview on exactly what it’s like to be that famous for no particular reason.

4. The MXL990

• Average Cost: $70 (check prices on Amazon)
• Connection: XLR
• Function: Condenser
• Pros: Great audio quality at a very low cost
• Cons: Quite fragile, and needs a boom arm to mount it

The MXL990 was the first condenser mic that I owned, and I loved it. I used it for all of my recordings for about two years. It’s ridiculously good value at about $70 and it was worth every penny at the time. Even though it’s a condenser, it was decent in a normal office room, not picking up too much of the room noise. So this is a good choice if you have a reasonably quiet space, and you’re looking for a rich sound on a budget.

5. The Shure SM58

• Average Cost: $99 (check prices on Amazon)
• Connection: XLR
• Function: Dynamic
• Pros: Almost indestructible
• Cons: If you’re bothered about aesthetics, this looks more like a “musician’s mic” (predominantly, it is!)

I have to mention the workhorse that is the Shure SM58, just in case you’re looking for a high-quality podcast mic that’s more mobile.

The SM58 is a handheld mic more commonly spotted at music events, usually in the hand of a screaming lead singer. It can be dropped, pounded, drowned and still survive. It also has a built-in pop filter. The SM58 is perfect for anyone that’s looking to do more out-and-about recording than in-studio.

We use the Shure SM58 along with a Zoom H5 or Zoom H6 recorder for all of our in-person interviews (find out more about the setup here). If you think you’d like to take your mic on the road and can budget for a good digital recorder too, then this could be the choice for you. It’ll work just as well in the studio, mounted on a stand, for when that’s called for.

Mid-Range Podcast Microphones: $100-$200

These microphones are all you need for podcasting up to six or seven-figure audiences. They are also within the normal podcaster’s budget, and provide great quality recordings to boot.

6. The Rode Podcaster

• Average Cost: $170 (check prices on Amazon)
• Connection: USB
• Function: Dynamic
• Pros: Essentially the Rode Procaster, in USB form
• Cons: Needs a boom arm

The price of the Rode Podcaster definitely creeps up a little when you include stands and a shock mount, but you’ll notice a significant difference if you compare it directly with any of the entry-level microphones above. This is what we use in our podcasting studio right now.

If you like the look of the Rode Podcaster, but would rather opt for an XLR mic so you can plug it into things like mixers or digital recorders, then check out its sister mic – the Rode Procaster.

7. The Blue Yeti

• Average Cost: $130 (check prices on Amazon)
• Connection: USB
• Function: Condenser
• Pros: A nice-looking mic on its own stand
• Cons: Easy to use incorrectly

Whilst the Rode Podcaster is a Dynamic, this next one is a Condenser. The Blue Yeti is one of the most popular USB podcast microphones in the world, and it comes in at around $130.

The Blue Yeti offers great quality audio thanks to its condenser capsules. It’s also amazingly easy to use with a plug and play USB connection.

One of its biggest advantages, though, is its range of polar patterns. The Yeti offers settings for solo recording, two-person face to face recording, and group recording. So, it’s flexible and can adapt to just about any situation. For best quality sound, you need to be quite close to the mic, so prepare to get pretty cosy when you’re recording two people or groups.

Lastly, the Blue Yeti comes with its own stand, so it’s a good mic if you want to jump in at the high-end and not have to worry about additional kit. Click here for more info about the Blue Yeti and its various accessories.

The Yeti might not quite match the MXL990 or the Rode podcast mics for sheer quality, but the ease of use and the fact that it’s entirely standalone make it a really serious choice at this level. See our Blue Yeti review for the full lowdown.

It’s also worth mentioning that, in late 2019, the Blue Yeti X was released. This model offers a few upgrades to the original, such as higher recording resolution and an additional condenser capsule. Whilst these are nice technical improvements, the difference in audio quality will unlikely be noticeable to most podcast listeners. That said, as a podcaster, you might prefer the Blue Yeti X over its predecessor due to its improved sleek design.

8. AKG Lyra

• Average Cost: $150 (check prices on Amazon)
• Connection: USB
• Function: Condenser
• Pros: One of the best-sounding USB mics out there
• Cons: Limited availability

The AKG Lyra is a strong competitor to the Blue Yeti, in that it has very similar features, from polar patterns to an in-built stand.

To my ear, it actually sounds better than the Yeti, but it can be harder to pick one up, depending on where you are in the world. If they are available in your region, and you’d like to find out more, then have a read of our full AKG Lyra review.

9. PreSonus PX-1

• Average Cost: $130 (check prices on Amazon)
• Connection: XLR
• Function: Condenser
• Pros: Great podcast mic for recording voice
• Cons: Needs a well-treated environment

The PreSonus PX-1 is perfect for anyone looking to own a Large Diaphragm Cardioid Condenser Microphone without breaking the bank. You’ll want an above-average recording environment for this one, so better to opt for something like the Q9U (below) or the Shure MV7 if you tend to podcast from inside the broom cupboard. See our review of the PreSonus PX-1 to get the full lowdown on this great podcast microphone.

10. Samson Q9U

• Average Cost: $120 (check prices on Amazon)
• Connection: XLR & USB
• Function: Dynamic
• Pros: Versatile, plugs straight into computer, or, into interface or digital recorder
• Cons: Needs a boom arm

We talked earlier about the Samson Q2U. A newer mic on the market is the Samson Q9U which, like the Q2U, can be used in both USB and XLR form. The Q9U sounds better than the (already good sounding) Q2U and doesn’t cost that much more, either!

Related Article

Samson Q2U Review | Is This (Still) the Best Microphone for Podcasters?

In this Samson Q2U review we’ll take a look at a mic widely considered as the best value-quality option for a podcasting microphone! Find out more »

11. The Rode NT1-A

• Average Cost: $199 (check prices on Amazon)
• Connection: XLR
• Function: Dynamic
• Pros: A low-noise microphone
• Cons: Not an overly-durable build

The Rode NT1-A popped up as a surprise entry in our Gear Stats Survey a couple of years ago. It turned out to be the most popular high-end podcast microphone amongst our respondents. It’s not surprising, really, when you hear the quality it offers, combined with a relatively low price for a mic at this level. You can usually pick one up new for around $200.

The NT1-A is a super-low noise XLR microphone, with a really rich sound behind it. The pack comes with a shock mount and a pop filter, so all you need is a mic stand and a recorder, audio interface, or mixer to get it up and running.

Fans of the Rode NT1-A might also be interested in the Rode NT-USB and the Rode NT-USB Mini. You can plug multiple NT-USB Mini mics into your computer at the same time and record them in multitrack using Rode’s free Connect software. This setup is pretty unique and by far the best way to record with multiple USB mics at the present moment!

Premium Podcast Microphones for Over $200

At this level, we’re starting to look at some serious cash. These are microphones that wouldn’t look out of place in a professional recording studio. These are probably overkill for most podcasters, even if you’re broadcasting to millions. Take Tim Ferriss for example – millions of downloads per episode and still mostly recording on an ATR2100 or an SM58, last time I looked.

12. The Shure SM7b

• Average Cost: $360 (check prices on Amazon)
• Connection: XLR
• Function: Dynamic
• Pros: One of the highest-quality podcast mics out there
• Cons: Also one of the most expensive, and won’t sound good in less than optimal conditions

The Shure SM7b is a legendary mic in the industry. It’s one that discerning audiophiles hold in great esteem. And yes, it does indeed live up to the hype.

The problem with the SM7B is that it needs a really professional environment. It picks up a LOT of background noise, and it totally unforgiving with bad mic technique. This will pick up all of your lip smacks, breathing, pops and sibilants, and so you need to know how to deal with them all.

Presuming you can do that, though, and you can afford the cost, this is one hell of a microphone.

And… the Shure MV7

• Average Cost: $250 (check prices on Amazon)
• Connection: XLR & USB
• Function: Dynamic
• Pros: Similar to the SM7b, but cheaper and more versatile
• Cons: Not the strongest of signals when used in XLR form

What if I told you that the SM7b had a kid brother, in the form of the Shure MV7? It works as both a USB mic AND an XLR mic, so you can plug it directly into your computer, or, via a USB audio interface or digital recorder. On top of its flexibility, Shure market the mic as offering “perfect sound in imperfect rooms”. If you’re intrigued, check out our review of the Shure MV7 for the full lowdown.

13. The Heil PR40

• Average Cost: $375 (check prices on Amazon)
• Connection: XLR
• Function: Dynamic
• Pros: Premium sound quality, even in less-than-ideal environments
• Cons: Hard to justify the price

The Heil PR40 is touted by many high-level showrunners as the go-to podcast mic for anyone who wants the best sound they can get. I won’t deny it’s a good microphone, but I will say it’s a bit overhyped.

The sound quality is good, and, being a dynamic mic, it’s a great fit for the non-professional environments most of us are recording in. So, if you can get your hands on one to test it out, either borrow or on sale and return, then definitely give it a try.

14. The Electro-Voice RE20

• Average Cost: $450 (check prices on Amazon)
• Connection: XLR
• Function: Dynamic
• Pros: Amazing sound quality
• Cons: Extremely expensive

The Electro-Voice RE20 is a mic with a very loyal following… If you know an Electro-Voice fan, you’ll know this to be true!

The EVs are certainly amongst the best microphones in podcasting, or the world of audio in general!

Those who love the EV speak fondly of its rich tones, depth, and resonance. There’s a body to the recordings that’s as memorable as it is undefinable.

You’ll pay for this sound quality, of course. The EV microphones are NOT cheap. But they’re world-class equipment and justify the cost. If you’d like to read more about the mic, and hear some samples, then you can read our Electro-Voice RE20 review here.

The RE20 also has a little cousin in the form of the EV R320 – not a mic we’ve managed to test ourselves before, but a few people we know use it and speak highly of it!

Strengthen Your Setup: Headphones, Audio Interfaces, & Microphone Stands

Podcast microphones don’t work in isolation, and you can use various bits of kit and gear to power, support, or enhance them.

Headphones are a must for any podcaster. Use them for monitoring recordings so that you can hear exactly what’s being recorded, as it’s being recorded. Then, use them to edit and produce your audio, too. Check out our guide to the best podcast headphones for more on this.

If you’re using a digital mic, you’ll need a computer to plug your USB cable into. There’s every chance you already have a computer, but bookmark our best computer for podcasting and best laptop for podcasting guides should you ever need to upgrade.  

If it’s an XLR mic you plan to use, then you can’t plug an XLR cable directly into your computer. Instead, you can buy a USB audio interface to link it all together, giving you greater control, flexibility, and a wider range of options. Depending on the model, you can plug two or more mics into your interface, making them ideal for recording local co-hosts or guests. Some will even include a separate headphone jack for each participant.

Most podcast microphones mentioned here will also be optimal when mounted on a stand or boom arm. Check out our guide to the best boom arms, which offer the most flexible and professional-looking setups for mic mounting and podcast presentation.

Podcast Microphone Polar Patterns

Mic polar patterns are also known as pickup patterns. These are settings which determine the areas a microphone “hears” sound. For example, a cardioid polar pattern will focus mainly on the front of the mic whilst rejecting some sound from around the back. This makes the cardioid pickup pattern ideal for voice recordings, and almost every mic mentioned here either has it by default or makes it available in its range of settings. Check out our full guide to microphone polar patterns to learn more.

Background Noise, Mic Technique, & Sound Quality

It’s not purely about which mic you buy – it’s about where and how you use it. Though there’s nothing wrong with ambient noise, you want to avoid distracting background noise in your podcast, which means optimising your recording space. Make a habit of using your mute button, too, whether that’s built into the mic, or in your recording software. We can edit out and clean up after the fact, but many disturbances don’t need to make it into your recording in the first place.

Mic technique is also pivotal to your audio quality. You want to maintain an appropriate distance, avoid handling or hitting the desk, and use a pop filter if you love to record in close proximity.

Looking for Help With Your Podcast?

Did you know we have courses on all aspects of launching and growing a show over at Podcraft Academy? Not only that, we run weekly Q&A sessions, too, so you can always get the help, advice, and answers that you need!

Quick Question Time: The “Best Podcast Mic For”… FAQ

Here we answer frequently asked questions to help you choose your perfect podcasting microphone.

Best Dynamic Microphone for Podcasting?

For best overall, go Electro-Voice RE20. For best value, go Samson Q2U.

Best Condenser Microphone for Podcasting?

For best overall, go Neumann U87. For best value, go MXL990.

Best Podcast Microphone for Mac?

I’d say the AKG Lyra, but any of these USB Mics will do.

Best Durable Podcast Mic?

It’s got to be the Shure SM58, eh?

Best XLR Microphone for Podcasting?

For best overall, go Electro-Voice RE20. For best value, go Samson Q2U.

Best USB Microphone for Podcasting

For best overall, go Shure MV7. For best value, go Samson Q2U.

Best Mics for Multiple USB Use

You can run multiple Rode NT-USB Mini mics into the Rode Connect software.

Best Mic for an Echoey Room

The Shure MV7 and PreSonus Dynamic Revelator can perform well on this front. Always try to sound treat your room as best you can, though.

Best Shotgun Mic for Podcasting

We love the Zoom SSH-6 capsule for the Zoom H6 recorder.

Best Portable Podcast Microphone

The Zoom H1 recorder, but see lavalier options below.

Best Lavalier Microphone for Podcast

Definitely the Rode SmartLav+ or Rode Wireless Go.

Best Headworn Microphone for Podcast

The Sennheiser PC 8 USB Headset, but if you already own a good pair of headphones, opt for the Antlion ModMic USB attachment.

Best Omnidirectional Microphone for Podcast

Tricky as you should avoid sharing a mic. Solo-use omnidirectional mics are usually lavaliers like the Rode SmartLav+ or Rode Wireless Go.

Best Bluetooth Podcast Microphone

The SmartMike+ is a decent budget option. You can also create a great Bluetooth setup using the Zoom PodTrak P4.

Best Microphone for YouTube

There are so many video variables here, so best to check out our dedicated guide to the Best Microphones for YouTube to find the scenario that best suits you.

Let Alitu Take Care of Your Podcast Editing

Alitu is a tool that takes your recording, polishes it up, adds your music, and publishes the episode, all automatically.

Learn more about Alitu

Next up in the Quest to Sound Your Best… Recording

Choosing a podcast microphone means you’ve something to record with. But there are a few additional steps in the recording chain.

Using an XLR mic and need something to plug it into? Here are your 3 options…

• Best USB Audio Interfaces
• Best Podcast Mixers
• Best Digital Recorders

And, if you’re recording directly into your computer you might fancy trying out Alitu. Alitu is an all-in-one podcast maker tool that lets you record (solo or remote calls), edit, and publish episodes from directly inside its interface. Alitu does all the production magic (EQ, Noise Reduction, Volume Levelling) for you automatically too, so you can really enhance the sound of your shiny new podcast mic without knowing the slightest bit about audio engineering!

Try Alitu free for 7 days and see for yourself.

Today I’m going to be reviewing two of Boss’s (Boss-sus-susses?) offerings for audio streaming mixers designed for musicians, streamers and, most pertinent to TPH readers, podcasters. I’ll specifically be looking at the Boss Gigcaster 5 (£419/$459 on Amazon) and the Boss Gigcaster 8 (£549/$699 on Amazon) and testing them in a couple of different settings.

Editor’s Note

The two Boss Gigcaster units were provided for review purposes. We use affiliate links in this review and would earn a small commission should you choose to buy through them. Affiliates help support our free content, though they never cloud our judgement or prevent us from giving you our honest opinions!

Boss Gigcaster 5 vs Gigcaster 8 – More tracks, more buttons!

For the most part, the differences between the two mixers are straightforward.

• The 8 has eight tracks, while the 5 has five (I’m sure that’s a coincidence).
• The 5 has two XLR inputs and a stereo line input, while the 8 has four XLR/line combi inputs.
• The 5 has two headphone outs, while the 8 has four.
• Basically, the more expensive one is bigger and has more inputs and tracks!

So, What do they both do?

Both the Boss Gigcaster 5 and Boss Gigcaster 8…

• feature the option for Bluetooth and USB connectivity
• can be used as a USB audio interface
• have 48V phantom power

Both units also feature separate output levels for each headphone output, as well as mute and isolate buttons for each track. There’s also a talkback feature. This lets you use the built-in internal microphones to communicate through the headphones without going through the main output, a feature that is very handy for live radio or streaming environments.

Boss Gigcaster Quick wins

Both units also come packed with Boss effects based on the incredible GT-1000 effects board, which includes EQ and mic treatments, with a healthy number of presets to get started with. I initially set up my microphone with the ‘Calm Speech’ setting and left it basically unaltered during my testing time. If you’re not one for post-production (otherwise known as ‘a healthy normal person’) or you have a quick turnaround time for episodes, this cuts down the time required for editing by treating and mixing your audio at recording, rather than something that has to be figured out later.

Monitoring

The headphone outputs are 3.5mm jacks like the headphone jack of your phone, which I thought was odd. Usually, for mixers like this, you’d find the larger, much heftier 1/4-inch headphone jack. It’s not a big difference for me; it just meant I had to use an adapter. It’s an unusual choice for something aimed at audio creators of all stripes.

Wait… more differences?

Aside from price, size, inputs, and tracks, there are a couple of other interesting differences between the two mixers. The Gigcaster 8 has eight touch pads (again, a coincidence, I’m sure) to trigger sounds and effects, while on the 5, the same functionality is controlled via the touchscreen after pressing the ‘Effects’ button. The Gigcaster 8 also has a dedicated input jack for a device such as a phone or tablet, providing another option for recording audio.

The biggest difference between the two mixers is that the Gigcaster 8 has the ability to record to an SD card directly from the mixer, making it ideal for recording on the go. There’s even an option to record in multitrack for easy editing post-recording. With its four mic inputs and four headphone outputs, I think the Gigcaster 8 would be a great choice for recording on the go or a setup for people who don’t want to invest in a work computer for handling audio.

Using the Boss Gigcaster 8 as a USB interface

Any tech that requires me to unplug my trusty and beloved Focusrite Scarlett 8i6 will always make me nervous. However, the Gigcaster 8 proved an excellent studio recording companion.

While the setup was a little confusing, it was no more of a challenge than setting up an unfamiliar USB audio interface usually is. But thankfully, Boss have uploaded a comprehensive Quick Start tutorial series on their Youtube channel. I was ready to go after watching their video for setting the Gigcaster up for streaming.

I didn’t have much opportunity to put all eight tracks through their paces. In the end, I just plugged in my desk mic and my Moog Grandmother synthesizer. I was more interested to see how it fared as part of a workflow.

I think the advantages of using the Gigcaster as a USB interface are more relevant to musicians rather than podcasters. I found a lot of Youtube videos singing its praises as a mixer for live-streaming musicians, and I think if my own streams were more based on live performance rather than composing, I’d get a lot out of the Gigcaster (maybe that’s something to try in the future). The fact that it doubles as an effects box and has an in-built tuner makes it particularly good for guitarists and singers. The control over individual parameters with the touch pads and individual track volumes with the faders also makes it incredibly handy for looping musicians of all stripes.

For straightforward audio recording, it kind of does what you would want a USB mixer like this to do. You can assign different inputs to different tracks in your DAW or record the main output. You can adjust the sample rate without anything breaking (always a plus). And having the ability to control the audio level with the faders and use the Gigcaster to add effects such as EQ and compression before going into the computer is great for streamers and podcasters with quick turnaround times.

It also just…looks good on a desk…if that’s the kind of thing you like…

Comparing it to my usual interface (Focusrite Scarlett 8i6) just on recording alone, I liked having more tactile, physical control over levels with the faders. I have dials on the Scarlett for the two main inputs, but the other four inputs are straightforward line inputs. Those have to be adjusted with the Focusrite Control app, which uses the mouse. If you read my controller article, you know this isn’t my favourite thing to do.

I think the Scarlett is easier to use as a straightforward USB interface and took much less time to figure out than the Gigcaster. Granted, the Gigcaster is more complex and has more features and use cases. But if you’re looking for an audio interface for recording podcasts into your computer, a lot of those features might not necessarily be what you need.

Using the Boss Gigcaster 5 for live performance

The timing of this review provided an interesting opportunity to test the Gigcaster in a field I feel isn’t often discussed in podcasting: live performance.

As it so happens, I am in the process of developing a live set based around some of my audio drama work, using Roman Mars’ 99% Invisible TED talk as a starting point. With this in mind, I thought it would be interesting to switch out the so-old-you-can’t-buy-it-anymore analog mixer I got for free when my partner’s work was having an equipment clear out with the Gigcaster 5 and see what happened.

To give you a quick rundown of the setup here: I have a Roland SP404 MkII (‘The Magic Box’) that I use for music, sound effects and voice clips, going into the stereo input of the Gigcaster 5. My microphone is running into the first mic input.

The twin headphone ports mean I can not only monitor levels without needing an external sound desk, but it also means I had a line out to record performances onto my Tascam DR40. This already simplifies what in the past has proven to be an often complicated process involving routing and lots of wires. Having the recorder nearby and getting the same audio as both my headphones and the venue speakers is very, very important to me. The fact that Boss seems to have thought of this already endears me to the Gigcaster.

Getting going with a basic setup is intuitive and straightforward. It didn’t take me long to figure out how to adjust the settings on each track (there are already presets for ‘Talk’ and ‘Console’ setups). It’s clear what each button does: the mute and isolate buttons for each track are clearly labelled, and where you expect to find them under the faders.

To change the setup of each track, you press the button above the fader, which made sense to me. The effects button takes you to – you guessed it – the effects page, which gives you buttons on the touchscreen in a similar setup to the coloured buttons on the bottom of the Gigcaster 8. These buttons can be easily programmed to trigger effects or even play sounds, which is incredibly useful for live podcasting or audio drama performances.

The touchscreen itself can be a bit fiddly with the size of some of the onscreen buttons. Adjusting the input gain for tracks with tiny + and – buttons felt disappointing on a console with so many physical dials and faders. It is, however, very cleanly laid out, and you’re never more than one tap away from the home screen, which is, again, very handy for a live performance scenario.

I couldn’t quite get the effects working on my own, but once again Boss’s (Boss-ezz?) Quick Start video series saved the day, and after 5 minutes, I was playing around with all sorts of weird and wonderful effects.

Incorporating the Gigcaster 5 into my live setup was as close to effortless as setting up tech could be. Any problems I had were solved quickly, either through trial and error or by looking up one of Boss’s (Boss-ess-ess?) videos. I felt inspired using it, and it made me want to experiment and make more things, which I think is very impressive for a mixer.

In the world of indie audio drama, the idea of a live show can be a daunting and complicated affair. I think the Gigcaster series, at least in my case, makes that process a little less daunting.

Conclusions – Do YOU need a Boss Gigcaster?

So, here’s the thing. I love these mixers. In fact, I loved the Boss Gigcaster 5 so much as a live performance tool, I actually asked if I could keep it. For something as straightforward as a mixer, this series offers so much by way of effects and creativity in a way that is accessible and intuitive. Boss has gone out of the way to explain the possibilities of these units, with multiple playlists on Youtube demonstrating in detail how each facet works, and with hands-on walkthroughs for different mediums.

There are so many things I didn’t get to talk about in this review: I didn’t test the mixers in a streaming environment. I didn’t go in-depth about the soundboard features or the effects, or that you can pretty much control any parameter of the desk with a footswitch, which is a really cool feature that presents so many unique possibilities!

But, most podcasters don’t need an effects box, and most podcasters won’t need a soundboard. If you’re looking for a mixer to record interviews with, there are cheaper options out there, and a lot of them also double as hard-disk recorders.

That being said, if, like me, you work audio in multiple fields like streaming or music, or if your work in podcasting is a bit more niche like audio drama, creative non-fiction or live recordings, the Gigcaster series offers everything you could possibly need and more. Playing around with these mixers has already inspired me to experiment with new storytelling possibilities and new formats.

Check out the Boss Gigcaster 5 and Boss Gigcaster 8 on Amazon.

• Ease of Use: 4/5
• Features: 5/5
• Versatility: 5/5

So when the obsidian portal that The Podcast Host requires you to build in your home when you write for them rumbled in a sort of friendly way that it had a Sennheiser microphone for streaming and podcasting for me to review, I was excited to see what it offers at the entry level for prospective audio nerds.

Editor’s Note

Thanks for reading our review of the Sennheiser Profile. Just a quick heads up that we received this unit free of charge, and that we also use affiliate links on the site to products and services we think you’ll find interesting. We’d earn a small commission should you choose to buy through them (at no extra cost to yourself), and this helps support all the free content we put out. This will also never cloud our judgement when it comes to writing reviews – we’ll always give you our honest opinions, no matter what!

What is the Sennheiser Profile?

The Sennheiser Profile is a USB cardioid microphone for podcasting and streaming. It’s a little on the expensive side for what it offers, retailing for around $129/£108 for the basic set reviewed here. The ‘Streaming Set’ that comes with a boom arm and a mic bag comes in around $199 / £176. It only features one polar pattern – cardioid – meaning it only works in one direction (in this case, the side with the buttons on it), which gives it fewer features than other USB microphones at this price point.

However, I think the Profile more than makes up for it.

Look & Feel of the Sennheiser Profile

The Profile’s design is sleek, much like the rest of Sennheiser’s range. It’s simple, elegant and sturdy; no cheap plastic thrills here. It is, however, tiny, and the dials are small and somewhat fiddly, even for my wee gremlin hands. 

If you are looking for a microphone for professional voicework, a boom arm is essential; otherwise, the best option is to balance the stand on top of your unread book collection.

Setting up the Sennheiser Profile

I also want to take a second to talk about the Quick Guide that comes with the microphone. While there is a QR code linking to an online manual, the Quick Guide clearly shows you all you need to know to get started – in a manner builders of IKEA furniture will find familiar. 

The dials on the front of the Profile are fairly self-explanatory. There is a mute button, a gain control with a ring light to warn you of clipping (turning from green to yellow, and then red when muted), as well as a headphone volume dial. 

There is also a third dial which I found really interesting. The Profile allows you to change the balance of mic audio and computer audio in your headphones. I think this is really cool. If you’re like me and you find hearing your own voice during recordings a bit distracting, this gives you the freedom to adjust how much of yourself you can hear. It’s a great feature.

So, this is all going pretty well, right? That’s what I thought.

Then I had to try and record with it.

The back of the box of the Profile reads, ‘One simple connection and you’re ready to record, stream and inspire.’

This was not my experience.

After plugging the microphone in and setting it as an input and output device in my DAW, I had…no sound, and the audio that was already in the project would not play.

I set it as the microphone in OBS to see how it works as a streaming microphone, and… no audio. I could play Spotify through it, but that didn’t get me very far in terms of actually using this microphone as a microphone. The official documentation and support pages offered no answers.

I looked through forums and settings and went through everything to figure out the problem. The solution I found was that, for some reason, I couldn’t have the Profile as an input and output device, so I set the microphone as the input, and the output as my regular headphones. This, annoyingly, meant I couldn’t use the cool mic audio/computer audio balance I talked about earlier.

I’m willing to put this one down to Windows tomfoolery, but, even so, it hasn’t happened with other USB mics, and it shouldn’t have taken me as long as it did to actually record something.

[deep breath]

So, after all that, how does it sound?

Sound Quality of the Sennheiser Profile

This microphone sounds amazing. I was blown away by how good it sounds for how much it costs. The audio is clean and crisp, and plosives actually don’t sound too bad, even without a pop shield. The handling noise is negligible, too. Overall, it just sounds like a professional microphone.

Summary: Sennheiser Profile Review

I think the Sennheiser Profile is an excellent microphone for those looking to take their spoken-word audio a little more seriously without shelling out for a more professional setup. It looks and sounds great, the controls are intuitive, and the small size, even if fiddly at times, means you don’t need a lot of desk space for it.

That being said, the problems I had with the setup were deeply frustrating. Even with the workaround I used for recording, I couldn’t get the mic working with OBS as either input or output. While I’m aware this could be a computer/software issue, the ‘plug-and-play’ ethos of microphones like these imply it should work right away with no problems, and that was not my experience in this case.

This would be the kind of microphone I would send to a voice actor for remote recording work, as it hits the balance between professional quality audio and an easy setup for the user…provided I help them with the software side of things.

• Audio Quality: 5/5
• Build Quality: 4/5
• Ease-of-Use: 2/5

Related Article

The Best Podcast Microphones for All Abilities and Budgets

You know what you’d like to talk about on your show – now, you just need something to talk into…  Find out more »

In this Alabs Iron Mini-WL review, I’m going to:

• Test the overall recording quality
• Test the Signal Extraction Refinement claim
• Perform plosive tests
• And more!

Editor’s Note

The Alabs Iron Mini-WIL was provided for review purposes. Our Amazon link is an affiliate, so we may earn a small commission should you choose to buy through it.

What is the Iron Mini-WL?

“…the IRON MINI WL was designed specifically for recording vocals. 14mm acoustic diaphragm, cardioid directional pattern & sampling rate of 48kHz/24bit.”

Alabs

What Makes This Wireless Mic Unique?

This mic uses UHF (ultra-high frequency) for wireless transmission.  In a nutshell, this means there is less chance of interference issues than wireless mics that use Bluetooth or the 2.4GHz that overlaps with internet wireless signals.

Why?

As the name suggests, it uses a higher frequency range to transmit signal compared to many devices consumers use on a daily basis.  This means less chance of frequency overlap. The Iron Mini-WL microphone can connect to a computer or cellphone without downloading extra software or drivers.  It is, indeed, plug-and-play while eliminating the need for an interface and cables. 

The mic itself is simple. It has a mute button and a USB port for charging.

But how does it perform?

Initial Recording Test of the Iron Mini-WL

My initial recording came out at -31.28RMS or -29.8LUFS for recording levels – this is just barely at the cusp of “Okay”.  I think the overall tone is that of a consumer-grade mic and not professional-grade.  I also hear hiss at this lower recording level, which means it’ll only get louder when you boost your levels post-recording.

If you use this mic, you’ll want to use a software/app with input gain level controls within the software to help get healthier levels. If used for video conferencing, you can turn on auto-mic level for most platforms.

Plosive Test for the Iron Mini-WL

There were some popping plosives. This was expected as there was no built-in pop screen. However, the desktop stand can swivel. By slightly arcing the mic back, I alleviated the plosive issue at the recording stage. It’s also worth noting that the nut on the mic can be removed to place the mic on the stand or boom arm of your choice. This will help with finding your best mic placement, as well as adding in a pop filter.

Off-Axis Test for the Iron Mini-WL

As you can hear in the recording below, the tone changes noticeably with slight movements to the left and right.  If you use this mic, it’s super important to stay centered to the diaphragm.  I noticed, retrospectively, after reviewing my recordings, that if I hug the mic, the tone does improve, but then popping plosives become an issue.

Interference Findings

There weren’t any hum-based interference issues – even when using a cellphone as the recording device.  There were a few clicks associated with fast in and out signal drops.  However, this only occurred when I moved away from the recording device.  The signal was stable once I stayed in one spot to conduct wireless “droppage” tests.

Signal Extraction Refinement Test for the Iron Mini-WL

Alabs claims that their Signal Extraction Refinement technology captures the “most charming” frequency range of your voice while suppressing noise.  This sounds great on paper. But how does it perform in practice?

I recorded with a ceiling fan on to create some noise, and I didn’t notice much noise suppression, so if you use this mic, you’ll still want to be in a fairly quiet recording environment. As for the “charming frequency range of your voice” bit, this seems to work slightly better when you are fairly close to the mic.

It’ll be interesting to see how Alabs develops this concept further, but currently, it looks better on paper than practice when analyzing the results.

Who Would Benefit From the Iron Mini-WL

While I cannot recommend this mic for professional use, I can recommend it for:

• Online gaming
• Teleconference meetings
• Desktop mic for voice input commands

Conclusion

The MSRP looks like the Alabs Iron Mini-WL will be $69.99 if you want one with the stand, and $49.99 for just the mic.  A few “cons” have been mentioned throughout this review, like the hiss and low recording levels without extra help.  For this price range, the mic performs as expected.  I’d like to add that just because the Iron Mini-WL isn’t quite up to snuff for professional work, it’s not a bad mic.  It’s easy to use and set up.  As far as wireless mics go, it performs well without any interference issues.  This mic best serves a consumer environment, so it’s a decent, affordable option if you game online or want to sound good in your Zoom meetings at work.

• Build Quality: 3.5/5
• Recording Quality: 3.0/5
• Ease of Use: 5/5

Who is the JOBY Wavo POD For?

The Joby (stop laughing) Wavo POD is a USB ‘plug and play’ condenser microphone aimed at streamers and podcasters. I happen to be at the intersection of both of those markets, so I was excited to try it out and see what it could do. It’s very affordable, retailing at under £100, and comes with a pop-shield and a handy desktop stand.

Editor’s Note

Thanks for reading our review of the Joby Wavo Pod mic and boom arm. Just a quick heads up that we use affiliate links on the site to products and services we think you’ll find interesting. We’d earn a small commission should you choose to buy through them (at no extra cost to yourself), and this helps support all the free content we put out. This will also never cloud our judgement when it comes to writing reviews – we’ll always give you our honest opinions, no matter what!

Look & Feel

The design of the Wavo POD is fantastic. It’s an adorably small microphone, making it perfect for sitting unobtrusively on a desktop. The button layout is clearly labelled (the dial also functioning as a mute button is a nice touch), and the screws for customising its setup (more on that later) are big, bulky and easy to twist. 

JOBY Wavo Pod Polar Patterns

The thing I really love about it is the labels on the mic head explaining the different mic patterns, with arrows pointing towards which parts of the microphone to speak into. This is a great little touch that demystifies the often complicated-sounding world of polar patterns.

The Wavo POD features cardioid and omnidirectional polar patterns, making it an ideal starter mic for recording both voiceovers and interviews. The omnidirectional setting allows multiple people to be placed around the microphone and record clearly, which is great for group podcasting or ensemble audio dramas.

All of these features I could glean from just looking at the microphone. It’s intuitively designed and very sleek.

The POD came packaged with two long USB cables, a USB-C to USB-A for connecting to computers and a USB-C to USB-C for connecting to phones. It sounds slightly silly, but I really appreciated the length of these cables, as someone who is often frustrated by short cables that often come packaged with computer tech.

But this a piece of practice tech! You didn’t come here for me to tell you how pretty looks; you came here to find out how it sounds!

How Does the JOBY Wavo Pod Sound?

From a technical standpoint, the Wavo POD looks great: 48kHz sampling rate with 24-bit bit depth, 20Hz to 20kHz frequency response, everything a good mic should do!

When you plug the mic in, the ring light around the dial flashes a comforting blue. It took me a while to realise that this controls the output volume of the mic and not the gain. To adjust that, you hold the dial down for 3 seconds, at which point the ring light will turn purple. While this wasn’t immediately clear to me, it is in the instructions, so I can’t really fault them for that.

Output Issues

The instructions also say that you can use the mic to monitor output from your device (other people in the recording session, for instance), but for some reason, I couldn’t get the mic to work as an output device at all with my DAW, meaning I eventually unplugged my headphones from the mic and monitored with my usual Focusrite external audio interface.

Gain

The gain is quite sensitive, and the dial on the microphone also doesn’t have a minimum or maximum setting; it just infinitely turns, making it difficult to gauge how loud the signal actually is between the gain and the volume (and holding the button down for 3 seconds each time to switch between them). While for something like solo recording or streaming, this would be less of an issue as you can take as much time as you need beforehand to set up. But in something like a professional remote recording setting, where an engineer might be looking for specific information, this is not ideal.

The Wavo Boom Arm

The handling noise of the mic is also quite loud, especially when turning the dial and pressing the buttons, which led to me blasting my ears out with a loud button sound right before muting. There is also a lot of noise that comes up through the desk stand (like keyboard typing or ambient computer noise), which stands aren’t really supposed to do.

But that’s where a desk arm comes in handy (or…army?), and Joby were very kind to also provide one: the Wavo Boom Arm.

I was a little worried about this arm as the box was heavy, which is not necessarily what you want from a desk arm. However, it turned out that the majority of the heft was from the actual desk mount, which also features a handy-dandy beverage holder! I love this!

This boom arm is sturdy! It features something called ‘Tension Adjustment’, which locks into place whenever you move the arm. It’s lovely and solid and not at all loose like some of the more bog standard desk arms. It feels very well-engineered, and like once it’s in place, it’s not moving.

A really cool feature, and I mean this in all seriousness, is the clean cable management system of the Wavo Boom Arm. The tops of the arms slide off, allowing you to thread mic cables through them, leading to a very sleek, tidy mic setup (it even comes supplied with alternate coloured tops, so you can customise the arm’s look). This is much better than the standard wraparound system I have with my current desk setup.

Attaching the mic is very straightforward. The areas on the mic that can be screwed in are all marked by a little circular pattern that looks a bit like the Youtube loading circle. The arm comes with a load of adapters for different screw sizes, and, while all the parts looked a little intimidating straight out the box, it was straightforward to figure out.

Closing Thoughts on the JOBY Wavo Pod

Alright, so who might need a Joby, then?

An obvious answer is anyone new to audio and looking for simplicity above all else. This could include streamers and solo podcasters, who, once they have their settings dialled in, can just talk and forget it’s even there.

It’s sleek, easy to set up and adjust, especially with the Boom Arm. If you’re podcasting on the go, this is a good choice due to its small size and a good alternative to using lav mics (which I think are noisy as heck, and people can’t seem to stop touching them during a session).

On the other hand, who might the Joby Wavo Pod not be such a good fit for?

I think if you’re a bit more serious about your sound and your practice (or, like me, you’re a nerd), I think you’re going to want something a bit more upmarket with extra control over the sound. The Wavo POD only has two polar patterns whereas the Blue Yeti, for around the same price, has four. There’s also no XLR output, and my inability to make it work as an output device, even after diving into my computer settings, is a problem. It could be a problem for you, too, if you’re serious about voice work or audio recording in general.

In closing, then, if you’re just starting out in audio or podcasting, there are few reasons not to add this mic to your “this could be the one” list. But if you already own a USB mic and are looking to build out your setup for more flexibility and control, check out our full podcast equipment guide, instead!

Related Article

Best Podcast Equipment & Setup for Beginners & Pros Alike

“Choose your tools carefully, but not so carefully that you get uptight or spend more time at the stationery store than at your writing table.” – Natalie Goldberg. Find out more »

David Devereux is a writer, sound designer and musician based in Glasgow, Scotland. They primarily make audio dramas as Tin Can Audio but have also worked on non-fiction shows with Campside Media such as The Wire At 20 with HBO and Infamous with Sony Music Entertainment. They have also made music for Doctor Who: Redacted and the tabletop roleplaying game Upriver Downriver.

Well, not quite…

You’ve probably seen or heard people saying “48V” and “condenser microphone” in the same sentence when speaking about audio. The 48V refers to Phantom Power. No, there are no ghosts or ghouls involved! It may seem like a scary or overwhelming concept, but it’s pretty simple! Throughout this article, I will break down what Phantom Power is, what it does, its benefits and dangers, and how to use it, all in bite-size pieces.

What is Phantom Power: The Technical Answer

Phantom Power is important to understand, at least minimally, so you don’t damage your gear. Why? Because we are dealing with voltage! Phantom Power is an electrical power supply that provides voltage to microphones, or other audio equipment, without the need for a traditional power source. Phantom Power is usually supplied via an audio interface. It allows microphones to function without the use of batteries or external power supplies.

There are microphones called “shotgun” mics or boom mics that are most commonly used on film and TV sets. Ten or so years ago, many models required batteries to power them as they fit under the condenser microphone family. When the batteries became low, this would cause issues, as you can no doubt imagine. Phantom Power is a great solution to this problem.

How Does Phantom Power Work?

Phantom power is typically supplied through an XLR cable, used with condenser microphones that need power to operate. The voltage is transmitted down one or both of the microphone’s signal lines (referred to as pins 2 and 3), while the shield (pin 1) is used as an audio ground. Phantom Power audio circuits typically use a voltage of 48 volts, although some audio equipment can be powered using 12 volts, 24 volts, or even 9 volts.

Luckily, the process has been simplified and is generated using one button typically labelled 48V on audio interfaces. This setup is the most common for modern gear used in podcasting!

Why Do I Need Phantom Power?

Some microphones require Phantom Power because they operate using an active electronic circuitry that needs a power source.

Condenser microphones, for example, require phantom power because they use a capacitor to capture sound waves and convert them into an electrical signal. The capacitor needs power to charge and discharge, which is provided by Phantom Power. On the other hand, dynamic microphones do not require Phantom Power because they generate electrical signals through a simple electromagnetic induction process.

That last bit is getting a tad into electrical engineering. But the key takeaways here are that condenser microphones need Phantom Power, whereas dynamic microphones do not.

The Benefits of Phantom Power

No Batteries

Phantom-Powered microphones are useful in situations where other power sources, such as batteries or external power supplies, aren’t available or are impractical to use.

Clean Signal

Phantom Power does not degrade the audio signal because it is transmitted along with the mic signal. This is because the Phantom-Power circuit is specially designed to ensure the power is clean and stable, with little or no distortion. If this part of the interface is broken or the XLR cable is damaged, the audio can lead to signal-to-noise ratio issues, distorted audio, and other audio problems.

Improved Clarity

Phantom Power ensures consistent sound quality by providing the necessary voltage to the microphones. This actually helps to eliminate unwanted noise and improve audio clarity.

Cost-Effective

Phantom Power is a cost-effective solution for powering audio equipment. It eliminates the need for external power supplies, making it an excellent option for home studios and portable setups.

Simple

Phantom Power is easy to use and requires minimal setup. It’s as simple as pressing a button or switch on your audio equipment.

The Dangers of Phantom Power

Phantom Power, when misused or when faulty, can damage your gear. So how do we make sure we’re using it safely and correctly?

Step by Step Phantom Power Usage with Modern Interfaces

1. Ensure the gain is set to zero, and 48V is turned off
2. Plug in the condenser microphone
3. Enable 48V
4. Set your gain
5. Record
6. Turn down gain to zero
7. Disengage 48V

It’s actually good practice not to leave your gain dial and 48V button engaged when you are done recording. Yes, it’s a pain to set the gain each time you record, but you lessen any potential damage from voltage spikes upon booting up your computer with the USB interface turning on.

Besides, nowadays, with a camera on a cellphone, it’s easy to reference settings to match between sessions!

What Happens When Phantom Power is Faulty?

If there are any problems with the equipment or the cables, it can cause damage to the microphone in the following ways:

1. Voltage spikes: Spikes in voltage that can damage the microphone’s electronics. Avoid sudden power surges by following the steps mentioned above.
2. Overvoltage: Excess voltage can cause overheating in the microphone, leading to component failure.
3. Short-circuit: If the microphone’s internal parts are damaged from the above, further use can cause a short circuit. This can cause complete hardware failure and possibly sparks internally.

Phantom Power – Not So Mysterious

I hope this article has demystified Phantom Power and that you now better understand how it works and best practices in its use.

In summary, Phantom Power provides power to condenser microphones and sometimes other audio equipment. It’s simple to use, often coming in the form of a 48V button. There are only a few rules that must not be broken to ensure your safety and the longevity of your gear. That’s it! Not so scary, right?

But you’ve apparently landed on this post to learn more about his microphone namesake, so I suppose we should probably talk about that instead.

The Blue Yeti is one of the most popular starter mics for podcasters (as well as ASMRtists!). It’s also one of the most misunderstood.

Here, you’ll get the info you need to help you decide whether or not it’s the ideal mic for you and your podcast. We’ll also touch on how to get the best from your Yeti, because it’s very easy to use it in the wrong way.

Sound good? You’re about to find out. Let’s dive in…

Who Would Use the Blue Yeti?

I’d say the target market for the Blue Yeti was aspiring and early-stage podcasters. Folks who know little or nothing about audio, and are just looking to get good-sounding content out there without a steep learning curve or complex setup.

The ideal use scenario for the Yeti is for solo recordings and online/remote conversations. It can be used in more ways than that – just not very well. More on that a bit later.

The Yeti is also a handy mic for live streams and conference calls.

What really impresses me about Blue is the overall packaging and appearance of their microphones. The Yeti’s box is well illustrated with simple diagrams and explanations of its functions. The aim here is so that a complete novice can look at it and feel confident that they can set it up and begin using it straight away.

Despite that, however, many people don’t use the Yeti in its best setting for their own use case. I completely understand that. I’m guilty of opening up and using new gear without even a brief squint over the instructions or how-to stuff.

So we’ll take a wee look at the pitfalls of the Blue Yeti and link to some follow-up resources, below. That way, if you do buy one, you’ll be using it properly and getting the best sound from it!

A quick heads up: Our link to the Blue Yeti is an affiliate which means we may earn a small commission, should you choose to buy through it. Rest assured; this is never at any extra cost to you

Setting up the Blue Yeti for Your Podcast

The Blue Yeti is a USB mic, so it plugs directly into your computer. You don’t need an audio interface or digital recorder to run it.

This is perfect for beginners but can be a bit limiting for those who’d like to gradually hone and improve their audio skills.

There are a lot of mics on the market that work as both USB and XLR (the Samson Q2U, Shure MV7, and Samson Q9U, to name just three) and these mics can grow with you if you want to end up running a mixer and multiple mic setup. Again though, that route definitely isn’t for everyone.

The Yeti is a good-looking microphone. It feels sturdy, durable, and well-weighted. You can be set up to record with the Yeti in under a minute.

It’s a simple case of taking it out of the box, setting it on your desk, and then connecting it to your computer using the USB cable provided. Your computer will detect it pretty quickly, and you can start using it as a recording device in any audio software,  like Audacity, Audition, or Alitu.

Related Article

Podcast Software: The Complete Guide, from Plan to Edit

Choosing the right podcast software can be a struggle, but we cover what you need, from recording, to editing to scheduling launch. Find out more »

Mounting the Yeti on a Stand

The Yeti comes on its own stand, a big plus for many. There’s no need to have a boom arm or mic stand to get started. The underside of the stand is cushioned with rubber padding. This, combined with the mic’s weight, means the Yeti feels fixed in place once you start recording.

On the downside, the stand doesn’t exactly put the mic in the ideal recording position. If you place it directly on your desk, it’ll tend to be quite low, so I often see people propping it up on a stack of books or a box when recording. Not exactly a dealbreaker, but worth noting.

If you want to get the Yeti into an ideal position every time, then you might want to mount it on a separate stand. It has a screw thread hole at the bottom which will easily attach to any standard mic stand or boom arm.

Related Article

Blue Yeti Accessories Guide: How to Upgrade Your Yeti

Improve how you use your Blue Yeti microphone, with mic stands, shock mounts & pop filters. Here are some options! Find out more »

To keep my Blue Yeti review concise, I’ll not go too far off track here, but you have many options for add-ons. If you’re interested in adding more bling, you can see our full article on Blue Yeti accessories here, which includes things like Yeti-specific boom arms and pop shields.

Features of the Blue Yeti

Let’s talk features, then. What options, dials, and ports do we find on the mic itself?

Headphone Jack

There’s a 3.5mm headphone jack on the underside of the mic, so you can plug in your earbuds or headphones and monitor your recordings. This means you’ll be hearing exactly what’s being recorded, as you record it.

Dials & Controls

There are three different dials on the Blue Yeti.

• Headphone volume – unsurprisingly controls the volume of the audio you’re hearing coming back out through your headphones. You can refer to this as your ‘output volume’. Increasing or decreasing this won’t have any effect on the audio you’re recording.
• Gain – this dial controls the sensitivity of your mic. You can refer to this as your ‘input volume’. Increasing or decreasing this will have an effect on the audio you are recording.
• Polar pattern – also known as “pickup pattern” – pattern selection allows you to choose a recording method that best suits your recording setup. We’ll talk about polar patterns in more detail shortly, as they’re a huge factor in how your Blue Yeti will sound.

There’s also a mute button on the Blue Yeti. Once plugged into your computer, this will light up.

If you press the mute button once, it will flash. This means your mic has been muted. If you press it again, the light will go back to constant, and the mic will pick up your voice once more.

Blue Yeti Review: Polar Patterns

Polar patterns are settings to determine how the mic picks up all of the sounds around it. The Yeti has 4 different options here, as well as recommendations on which one to choose.

• Stereo Mode – a music-intended setting for recording a singer or a couple of instruments.
• Cardioid Mode – for recording a solo (or online) podcast – one person facing the mic.
• Omnidirectional Mode – for recording several people surrounding the mic. It records from all directions. E.g. a roundtable discussion. Ideal for making ASMR.
• Bidirectional Mode – for recording face-to-face interviews, two people facing each other, either side of the mic.

These settings ostensibly give the Yeti a lot of flexibility, but really, I’d only advise buying the Yeti if you plan to use it on its Cardioid pattern. This means you’d be recording solo eps into your computer or online/remote interviews and conversations.

If you ever plan to record multiple people in the same room together, then the Yeti’s not your guy. Check out our guide to multitrack recording for all the best options on that front.

Related Article

How to Make the Blue Yeti Sound Better

The Blue Yeti is one of the most popular, yet misused bits of podcasting kit. Here, we’ll help you make your own Blue Yeti sound better.  Find out more »

Sound Quality

When used optimally, the Yeti has a pretty decent level of sound quality and does a good job of accurately capturing the voice.

One thing I was aware of was that it did pick up the fan noise from my PC until I clicked it onto the cardioid polar pattern setting (thus minimising sound from around the back of the microphone), so again, that’s something to be aware of.

Blue Yeti Frequency Response

Frequency response refers to the range of sound frequencies that a microphone can pick up and reproduce. Just like human ears can only hear certain sound frequencies, microphones also have limitations. The frequency response of the Blue Yeti can depend on several factors, including its polar pattern, gain settings, and the environment in which it’s used. Generally, the Blue Yeti has a frequency response range of 20Hz to 20kHz, which covers the entire range of human hearing.

Cost & Accessories

The Blue Yeti generally costs between $99 and $125 to buy new on Amazon. There are bundle packages available where Blue will throw in a couple of extras (like a boom arm and shock mount) too.

Related Article

What Is ASMR? Could It Boost Your Creativity, Concentration, or Mood?

ASMR stands for “autonomous sensory meridian response”, which couldn’t really sound any more boring. But don’t let the name put you off. Find out more »

Recording ASMR With Blue Yeti Microphones

This Blue Yeti review has been written with creators of spoken-word content in mind. We are a podcasting site, after all.

That said, we’re always interested in the wider fields of audio, and recently did a couple of write-ups on ASMR and Binaural Beats. As it happens, the Yeti seems to be a popular mic for creators of ASMR (AKA ASMRtists), and I can see why. Its Omnidirectional polar pattern might not sound too clever when recording podcasts, but move some scissors around it, and you’ll be recording your own virtual barbershop in no time!

Blue Yeti Review Summary: Podcasting With the Yeti

So, what’s the outcome of our Blue Yeti review? I think it can be a good option for someone looking for a simple setup, but also a decent level of sound quality. The Yeti certainly sounds better than its little brother, the Blue Snowball, another popular starter microphone.

You can buy the Blue Yeti here

With that all said, my recommended starter mic is still usually the Samson Q2U. In terms of audio quality, there’s not too much between them, but the Q2U is a fair bit cheaper and has an XLR option too.

The Yeti does have more polar pattern options, but I don’t think it’s worth buying to use any of them other than the Cardioid setting.

The bottom line though is that if you’re just looking for a quality USB mic without any complications then the Blue Yeti is a decent choice.

If you’re still undecided on which mic will be most suited to you, though, check out our best podcasting microphones, best USB microphones, and best budget mics articles. Or, if you have another mic in mind, you can search for our dedicated review of it in the box, below…

And no matter what mic you’re using, you’re going to need some software to record into. There is a multitude of podcast software options out there today. For the simplest possible way to record, edit, and publish your show, though, opt for Alitu (which has a 7-day free trial).

Finally, as for figuring out why the abominable snowman is so cold, we never did manage to tackle that, did we? Not to worry, though. Be sure to join us again next week when we answer the question, “Why is Bigfoot sweating?”

First up, there’s a big question that needs answering…

What Is ‘Good’ Audio?

Some might say this is subjective, but I’d argue that there are a number of factors that determine if audio is of professional broadcast quality.

• Each speaker is always ‘on mic’ and completely audible when talking.
• Each microphone picks up an accurate vocal recording that doesn’t sound tinny or muffled.
• Audio is free from distortion (crackling, clipping, interference, handling or wind noise)
• Audio has a low level of ‘noise floor’, so any underlying hiss or background noise isn’t intruding on the speech.
• Volume levels are consistent throughout, even with multiple speakers.
• Vocals are free from excessive echo or reverb (unless deliberate, in a field/location recording environment)

Source Material – Enhance or Repair?

You’ve probably heard the term “you can’t make a silk purse out of a sow’s ear” before. This certainly applies to your audio.

If you record clean source material then you already have good sound quality, but you can use a few tricks in post-production to enhance that quality.

If you record source material with certain issues, then your post-production task is more a case of making it sound presentable than excellent.

Keep that in mind when you’re setting up to record. Listen back to your initial test recordings and ask yourself if this will be a repair job. If so, you need to look at sorting out any issues at the source.

What Determines My Recording Sound Quality?

We can narrow this down to three things.

Your Microphone & Equipment

From your microphone and interface to your laptop and cables. Everything that makes up your recording setup will affect your sound quality.

Your environment & Recording Space

Not just the room around you but the building around that room and the street around that building. Even the sky overhead. How much noise filters through into your recording studio?

YOU (& Your Pop Filter!)

Mic technique is often overshadowed by the other two, but it’s still crucial. Some simple changes to how you record can make a big difference. For example, use a stand or boom arm rather than hold your mic. Keep an appropriate distance between your mouth and the mic head, too – the distance between your pinkie’s tip and your thumb’s tip is a good starting point. And always use a pop shield!

Managing Your Recording Session

If you’re running a solo show then you only need to worry about your own environment, equipment, and technique when you want to make a podcast sound better. In terms of recording equipment, we have a full equipment guide on a lot of the gear we’ve used over the years. You might also want to check out our article on creating a good recording environment.

If you’re working with co-hosts and interviewees on location then you still have a lot of control. Choose your environments wisely, prep your guests, and don’t be afraid to halt a recording if you need to correct something. Editing out a short pause is a lot better than trying to fix poorly recorded audio in post-production.

Online Calls & Remote Interviews

One of the biggest challenges in making a podcast sound better is recording remotely online.

Fortunately, this has improved a lot in recent years, with the emergence of double-ender recording tools like Riverside.fm and SquadCast. These tools have helped eliminate the dreaded internet lag typically found in recordings on platforms like Skype.

But the recording platforms themselves are only half the battle. If your guest turns up at their end sitting in a cave, recording into a potato, then no software is going to make that sound good.

You can avoid stress by prepping your interviewee ahead of time. Ask them about their equipment and environment in advance of the call. Then, if necessary, you can sort out any mic technique issues before you start the recording. For complete ease, send them our “how to be a great podcast interviewee” guide when arranging it with them.

Should I Try a ‘Double Ender’?

Sounds a bit dodgy, but some podcasters swear by this method. It can go a long way towards making a podcast sound better.

A Double Ender is where each person on a call records their own audio independently of the software they’re using.

You can record your own audio straight into your DAW (your editing software, DAW stands for Digital Audio Workstation), but it’s best to avoid putting too much strain on your computer, which might affect the call itself.

A much better option, if each caller has the luxury of doing so, is to record their own audio into a digital recorder.

This means the audio is totally unaffected by bad connections and computer issues. Once the call is over, each person sends their audio to whoever is mixing the episode, and they’ll sync it all together.

When doing a Double Ender, especially with more than one caller, be sure to do three loud claps before you start the show. That way, it’ll be much easier to sync up in post-production.

Double Ender recording (manually) is only recommended if everyone involved is semi-experienced with recording audio. If someone messes up or forgets to hit record, the whole episode is ruined. The good news is that tools like Riverside.fm and SquadCast can now record this way for you automatically.

Post-Production Techniques

So what are some of the things you can do to make a podcast sound better once you start editing your episode? Remember, this is only relevant once the “record good clean source material” part is nailed down.

These processes can be found in most if not all, pieces of recording/editing software. One of the most popular in podcasting is Audacity, because it’s free.

It’s worth mentioning, too, before diving in, that all of the following processes will be done automatically for you if you use Alitu.

Alitu is our ‘podcast maker’ tool that makes recording, editing, producing, and publishing a podcast super simple. With Alitu, you don’t have to learn how to do any of the stuff mentioned below – it’ll do it all automatically. If you want to see for yourself, then there’s a 7-day free trial available.

Of course, some people do want to spend a bit of time learning the ins and outs of audio, so let’s look at what processes you can run to make a podcast sound better in post-production.

Regardless of what editing software you’re using, the Effects menu will be a good place to start when looking for the following:

Noise Reduction for Background Noise & Hiss

So you’ll almost always have at least some level of ‘noise’ under a recording. It’ll be one of two types of noise.

1. Environmental noise – depending on where you record, this could be anything from traffic to people talking in the background.
2. Equipment noise – when recording gear is plugged in and working, there are a combination of electrical signals at work to power everything. Your audio can pick up these as a low hiss or buzz. This is commonly called ‘noise floor’ or ‘room tone’.

Assuming you’ve done all you can to record the cleanest source material possible, you’ll likely still have a level of hiss under your vocals that becomes more obvious when you boost the volume a bit.

You can eliminate this by using the Noise Reduction process. In most DAWs, this works by highlighting a section of ‘silence’ in your recording, which then allows the software to identify the noise that it wants to remove.

It’s good practice to record 5-10 seconds of silence/room tone at the very start of your audio. You can then use this as your noise reduction sample in the editing process.

Further Reading

• What is Signal to Noise Ratio?
• Why Does My Audio Hiss?
• Dynamic Vs Condenser Microphones

What About Noise Gates?

Another option to deal with background noise is setting a Noise Gate to run during your recording session. Noise Gates work by allowing sounds over a certain volume (ie, your voice) through but keeping out quieter (and, in theory, unwanted) sounds.

Noise Gates must be used carefully, though, and can sometimes do more harm than good. They can cut out breaths and parts of your speech, making your audio sound clunky and unnatural. I don’t recommend using a Noise Gate unless you’re familiar with them. I’d much rather try to prevent the source of any noise during the recording process and then tidy up any that did make it into my audio tracks later on with the Noise Reduction tool.   

EQ to Sharpen & Enhance

EQ or Equalisation is a versatile process that gives you complete control over the sound of your audio.

Your recording is basically layer upon layer of different sound frequencies. EQ lets you reduce or remove the volume of certain frequencies whilst boosting others, until you arrive at a sound you’re happy with.

Most EQ controls resemble a radio station mixing desk, with individual faders for each frequency band. On the far left, you have the low frequencies, and on the far right, you have the high frequencies.

If your recording has some mic handling, popping, or wind distortion, then you can improve this by fading down the frequencies under 80Hz.

If you want to enhance rather than repair your vocals, you can apply a gentle boost between 200Hz-600Hz. Remember to use your ears, rather than your eyes, when applying EQ.

It’s all about experimentation, so try different things, practice, and find out what works best for your own voice.

Compression to Level & Balance

Applying ‘compression’ to an audio file means that your DAW is going to bring the loudest parts and the quietest parts of your audio closer together. This can help you to achieve a much more consistent volume level throughout your episode.

Inside your compressor’s settings, you can set a Threshold to determine how loud the audio has to get before the compressor starts working. If you set the threshold to the quietest parts of your waveform, anything louder than the quietest parts will be compressed.

You’ll also have a Noisefloor setting that you can adjust to make sure silence isn’t amplified during pauses in speech.

Ratio will determine the level of compression, so at 2.1, it might be pretty mild, then you can bump it up to 3.1, then 4.1, and at 5.1, you’re starting to compress your audio quite heavily. It all depends on your source material, though, so go with what sounds right to you.

Finally, Attack and Delay settings basically just the reaction speeds of the compressor, so when there are changes in the volume of your source file, you can increase these to make it start and stop working quicker. Here’s a full guide on how to use the Compression feature inside Audacity.

Podcast Editing

One big (and pretty obvious) way to make any podcast sound better is to do at least some editing. The difference between podcast production and editing is that the latter focuses on chopping bits out. Those might be interruptions (the door, the phone, or the dog) or even just segments that were a bit too flat, rambly, or off-topic.

Tightening up your podcast with audio editing shortens episode lengths, saving your listeners’ time, and showing them that you respect their time, too.

Podcast editing adds time to your workflow but doesn’t need to get out of control. Check out our Minimum Effective Editing approach for tips on how to get the benefits of editing whilst still keeping your podcast sustainable.

What About Audio Files & File Format?

It’s true that your chosen file format can have an impact on your podcast audio quality, but it’s unlikely the differences will be perceptible to the average person’s hearing.

Most podcasters mix down and release their episodes in MP3 form, and there’s a sliding scale of bitrates you can encode MP3s at. The lower the bitrate, the lower the audio quality. But, again, most listeners wouldn’t be able to pick out a 96kbps spoken-word track from one encoded at 192kbps.

The lower the bitrate, the lower the file size, which is good – especially if you want to make your show accessible in regions with prohibitive data costs.  

Most podcasts are totally fine at 96kbps, though audio dramas and shows with a lot of music might want to opt for 128kbps. Here’s our full guide to podcast bitrates for more on this.

How to Make a Podcast Sound Better – Automatically

What if you’ve never used editing software before? Maybe you’re concerned that you don’t have the budget to outsource your production, but also don’t have the time to learn it all.

If that’s the case, you might want to check out our “podcast making” tool Alitu, which practically builds your episode for you.

Alitu is really simple to use and will take care of the processing, editing, and publishing of your podcast without the need for any actual editing software. It even has podcast hosting and auto-generated episode transcription built in, so you save time and money on multiple logins and subscriptions.

Let Alitu Take Care of Your Podcast Editing

Alitu is a tool that takes your recording, polishes it up, adds your music, and publishes the episode, all automatically.

Learn more about Alitu

Whether you’re a complete beginner or an experienced podcaster looking to drastically cut down on your production time, Alitu could be the answer you’re looking for!

Alternatively, you might opt to learn and hone your audio skills so you can do everything manually. This will take a lot more time up-front, but it’ll also give you more flexibility, going forward. There’s no right or wrong approach here, just whatever works best for you.

Music and sound effects can add an additional layer of polish to your podcast episodes. I’ve linked to two posts there that’ll give you plenty of options for finding legal (and even free) elements to use in your show.

Finally, remember that recording good clean source material is always the main way to make a podcast sound better. Get that part right, and the rest is all icing on the cake!