Podcasting Microphones Mega-Review

Updated on February 26, 2020 to add Audio-Technica ATR2100x and Rode PodMic.

It’s hard to find useful microphone recommendations for podcasters: most people have only tried one or two, except pro audio engineers, who have very different needs and record in very different environments. And almost no reviews include audio samples to compare.

So I set out to change that. Some commonly recommended mics were disappointing, some were right on, and I’ve found some real gems that were previously unknown in my podcasting circles.

Jump to:

My favorites

Every microphone accentuates and suppresses different characteristics, so what works for one person may not sound as good with another.

I’ve provided sound samples from both my wife and me for comparison: I have a more nasal voice, while she has a smoother tone. My voice is more “picky” with mics, while she sounds great on almost anything. I need more midrange smoothness, while she needs more sibilance suppression. I speak more loudly, and her quieter levels reveal background hiss more easily. And while we both have podcasts, neither of us are professionally trained announcers or have a background in radio — just like most podcasters.

From most to least favorite, considering sound quality, value, and practicality for podcasters who aren’t recording in professional studios:

Condenser vs. dynamic and pickup patterns

Most microphones today are either the condenser or dynamic type. For most models (but not all):

Dynamics tend to be more practical for podcasters: usually, they’re less sensitive to vibration (if you tap the desk or mic stand) and plosives (loud “pop” sounds when hit with a blast of air, like when you pronounce the letter P). Dynamics have poorer high-frequency pickup, making them sound more dull or muffled than condensers, but they also typically pick up less background noise and room echo, which is more pragmatic for podcasters in non-professional studios. Dynamics don’t usually sound great, but easily sound good. Dynamics also have a wider range of different sounds between different models compared to condensers, which sound largely similar to each other.

Condensers tend to pick up much more detail, and most condensers sound pretty similar to each other. They’re usually extremely unforgiving of room conditions, picking up more background noise, room echo, vibration, and plosives than most dynamics. Condensers can sound amazing in ideal circumstances, but are usually worse than dynamics in non-ideal circumstances.

But more important than condenser-vs.-dynamic is the pickup pattern:

Cardioid is the most common, effectively picking up everything in front of the mic but suppressing most noise from behind it. Most microphones in this review, and indeed the vast majority of similar microphones on the market, are cardioid. Cardioid is a great choice in most ways, but tends to pick up more room echo and background noise than supercardioid, especially for condensers.

Supercardioid picks up sound in a narrower, closer radius. It requires keeping your mouth in a smaller area for consistent volume, so it’s not great for amateurs who may move in and out of its pickup area. Supercardioid is much better than cardioid at suppressing room echo and background noise, making it ideal for podcasting at home.

Most USB microphones are cardioid condensers. Beginning podcasters often pick an inexpensive USB condenser, like the Blue Yeti, but these usually make their jobs harder by requiring big pop filters, close and consistent technique, and padded rooms to get good sound out of them.

Two of my favorite mics — the Shure Beta 87A and the Neumann KMS 105 — are supercardioid condensers. Usually intended for stage vocals, these have the practicality, forgiveness, and minimal noise of dynamics, but with better sound quality than most dynamics.

XLR or USB?

USB microphones are convenient, all-in-one solutions with limited capabilities and no expandability, and if any part of them dies, that’s it. They tend to be inexpensive but with relatively poor sound, and are made to low “consumer” standards for quality and durability. They’re also not very versatile, making some needs (like recording multiple people in the same room, or running a long cable) difficult or impossible.

An XLR microphone setup is made from multiple individual components that can be separately bought and upgraded as necessary, usually resulting in higher cost and physical complexity (more components, wires, buttons, and knobs). XLR mics are typically built like tanks, last forever, and span a much larger and better sound-quality range. Recording from multiple XLR mics in the same room is easy, and XLR setups offer far more flexibility and versatility.

If you’re just getting started with podcasting, a USB mic is good enough. If you’re established and looking to upgrade your production quality, or if you just love gear like me, you’ll likely find the jump to XLR worthwhile.

XLR interfaces

XLR microphones need to be connected and powered by XLR interfaces, which usually connect via USB. They should provide at least one XLR input and a headphone jack to hear yourself live. Like so many things, they should ideally require no software to be installed — every feature should be available from the hardware. And ideally, they should be bus-powered so there’s no cheap power brick to flake out.

There are many XLR USB interfaces in the $100–250 range that can acceptably power low-needs mics like the Shure Beta series and most condensers. These are my favorite budget preamps, in this order:

Jason Snell tested many inexpensive XLR interfaces and came to a similar conclusion.

My favorite interface is the $880 Sound Devices USBPre 2, which is gloriously covered in knobs, buttons, lights, and ports, and has no software whatsoever. This is a prime example of how to throw money at a problem to make it go away. It has extremely clean, powerful preamps that can easily drive every mic I’ve tried (including the SM7B) with plenty of headroom, it’s built like a tank, and it will most likely last a very long time. My only complaint (besides price) is that the headphone output is noisy, but the recorded output and line-outs are perfect.

Boom arms and shockmounts

Boom arms are much better than desk stands if you can tolerate their size — they allow freeform positioning within a huge area, so you can comfortably speak at the proper angle and distance from the mic.

The $100 Rode PSA1 is widely used and pretty good — it worked well for me for years.

The $120 Heil PL-2T gets similar reviews as the Rode, but I haven’t tried it.

The $150 K&M 23850 integrates an XLR cable and has noticeably better build quality and stability than the Rode. If you’re using an XLR mic and can spare the extra $50, get this.

I now use the K&M 23860. It’s even nicer, supporting more weight (ideal for the Electro-Voice RE20 or RE320) and hiding the springs and cable inside the thin, sleek arms.

To attach a mic to a boom arm (or any other universal mic stand), you’ll need a clip or shockmount with a standard screw thread on the end. There are two common sizes — ⅜ and ⅝ inches — and this $4 adapter connects them if necessary. Most booms come with one.

The Shure Betas come with mounting clips, the PG42-USB comes with a shockmount, and the SM7B has the entire mount built in. For most other mics, you’ll need to buy a compatible shockmount if you want one. Dynamic mics usually don’t need them, but condensers usually do.

Shockmounts are all structured very similarly but have different shapes, sizes, and attachment methods for different microphones. Usually, only the one offered by your microphone’s manufacturer will fit. Many offer discounted bundles with the microphone, shockmount, and other accessories.

My favorite shockmounts for stage-sized microphones (Shure Beta 87A, Beta 58A, and SM58; Pyle Pro PDMIC-58; Neumann KMS 105; Sennheiser e865) are these plastic mounts with suspended metal-screen pop filters, sold under many different brand names for about $12. Not only are they incredibly cheap and result in a clean-looking and compact setup, but many consider metal-screen pop filters to be the best kind. Set it to be about ½-inch from the front of the microphone.

Cables

Fancy cables don’t make a difference almost anywhere, including XLR cables, especially since they’re balanced. Get whatever XLR cables you want — I’ve accumulated a range from cheap nameless ones up to overpriced Mogami cables, and it makes no difference, even when noise is a major concern like with the SM7B. XLR cables can also be pretty long before you hit noticeable issues, and unlike USB, multiple XLR cables can be daisy-chained without any adapters.

Monoprice’s recent audio cables are so unnecessarily thick they’re bulky, stiff, and annoying, so my current go-to is Sendt, which are cheap, thin, and seemingly well made.

USB cables don’t matter at all. You’ll know if you have a bad one because it won’t work. If it works, it’s fine. (I’ve been using USB devices since USB 1.0 on my Pentium II in 1997, and I’ve never seen a bad USB cable.)

Mute switches

Most USB mics don’t have mute switches, but Shush can mute many of them (although not the Shure PG42 USB) when you hold down an assignable keyboard key.

If you want a mute button for an XLR mic, Shush probably won’t work with your XLR USB interface, so you’ll need to buy an actual hardware mute switch. This is one of those categories where everything sucks, like shaving mirrors, but the one I use (which is merely OK) is the Rolls MS111. You’ll need a second XLR cable. (Please don’t tell me how great your shaving mirror is.)

Headphones

I have a lot of headphone opinions for enjoying music. For podcasting, you need four characteristics, in this order:

Comfort: You’re going to be wearing these for a while. They should be full-sized, over-ear “studio” headphones that aren’t too heavy and don’t get too sweaty.

You’re going to be wearing these for a while. They should be full-sized, over-ear “studio” headphones that aren’t too heavy and don’t get too sweaty. Isolation: You don’t want your headphone output to “bleed” out and be picked up by the microphone, so closed-back headphones are a must.

You don’t want your headphone output to “bleed” out and be picked up by the microphone, so closed-back headphones are a must. Resolution: You don’t need to go too crazy here, but you need decent detail and a wide frequency response. Headphones with muffled or missing tonal ranges might make you miss harsh flaws in your audio that many of your listeners will hear.

You don’t need to go too crazy here, but you need decent detail and a wide frequency response. Headphones with muffled or missing tonal ranges might make you miss harsh flaws in your audio that many of your listeners will hear. Neutrality: If you mix on Beats, it’ll only sound right on Beats. Mix with neutral headphones and it’ll sound the way your listeners expect.

The $80 Sony MDR-7506 is the cheapest I’ve found that satisfies all four well enough, although it’s poor for music listening (despite the common wisdom, its “revealing” nature is just midrange distortion).

If you can spend more, the $170 Audio-Technica ATH-M50x is a great all-arounder that’s also great for music, although its bass is slightly stronger than neutral. Nothing like Beats, though.

(I master my podcasts on the best headphones I’ve ever heard driven by one of the few amps that can drive them, but this is truly ridiculous.)

Travel

To record a podcast alone while you’re away, you can’t really beat the small size and convenience of a USB mic.

For XLR mics, very small interfaces such as the $100 Shure X2U exist. While I haven’t tried them, I’d expect them to be fine for the Shure Betas but not for microphones with high power needs.

If you need to record multiple people in person with XLR mics and don’t need or want to involve a computer, it’s hard to beat Tascam and Zoom recorders, which can record 2–6 live tracks onto SD cards. My $240 Tascam DR-70D has served me very well, powering three Beta 87As and a Beta 58A for two podcasts at WWDC last summer, although it can’t be used as a USB interface — it’s only a standalone recorder.

A lot of people also love the $200 Zoom H4n or $400 Zoom H6. They can be used as USB XLR interfaces as well, but since their preamp quality isn’t as good as most standalone preamps in this price range, I wouldn’t recommend that you buy one primarily to be used as a USB audio interface, especially for a high-needs mic.

Other Reviews

The Wirecutter nailed it this time: the Blue Yeti and Shure PG42-USB are clear winners among USB mics, although the ATR-2100 is a better value and much more forgiving of room conditions than both. The Yeti and PG42 are very sensitive condensers that pick up a lot of background noise and room echo, and require big pop filters and shockmounts. Since so few USB microphones are anything but unforgiving condensers, I’d urge buyers to consider XLR options as well for more easily achieving good sound at home.

What did I miss?

Nobody’s perfect, nobody has tried everything, and nothing works for everyone.

I’ve tried to include as many relevant microphones as possible while balancing cost (I have to buy them all), time, and likely usefulness for podcasting.

I’d love to hear about your experiences with podcasting gear on Twitter to inform future updates. Thanks.