• USB audio interfaces allow you to run one or more XLR mics into your computer.
• They can offer an increased range of flexibility and options when compared to your typical USB mic setup.
• USB audio interfaces tend to be small, light, and a lot less cluttered than a standard mixer.
• The best USB audio interface for you will depend on your own unique budget, setup, and needs.
• Read on to find out more.
• Or, jump to our best USB audio interface recommendations.

Podcast equipment setups vary from person to person. Some podcasters prefer to keep things as simple and minimalistic as possible. Others are always looking to add the latest shiny thing to their arsenal of audio gear.

The easiest way to get set up and ready to record good-sounding audio is to plug in a USB mic. The quality of USB mics has come on leaps and bounds these past few years. That said, a lot of podcasters feel the desire to “graduate” to an XLR mic after a while, as they begin to explore ways to take their audio quality from good to great.

If this sounds like you, then you might also be in the market for a USB audio interface. Whatever XLR mic you pick up (see our best podcast microphone choices right here), you won’t be able to run it directly into your computer.

Of course, you don’t even need a computer to run an XLR mic. You could plug it into a digital recorder instead. But if you record online with co-hosts or interviewees, or, prefer to record directly into your DAW, then getting yourself a quality USB audio interface will make a lot of sense.

What is a USB Audio Interface?

A USB audio interface is a little box into which you can plug an XLR mic. Depending on the model, you can sometimes plug multiple XLR mics in.

A USB audio interface will connect to your computer by – funnily enough – USB. This setup gives you much more control and flexibility than your typical USB mic setup.

You’d also plug your headphones into your USB audio interface. It becomes both your input and your output. You simply need to select both these options when setting your preferences in your DAW or call recording software.

USB audio interfaces tend to be smaller and lighter than your average gaming console. They’re typically free from too many knobs and dials and look much simpler than their mixer counterparts.

Not all audio interfaces are USB, however. It’s actually quite a broad term, and audio interfaces come in all shapes and sizes. There’s the built-in sound card inside your computer. There’s tiny little USB dongles. There’s the circuitry built into a USB microphone. And then there are breakout devices, ranging from a simple USB interface with a microphone input all the way up to the large rackmount interfaces found in many studios.

While the info in this guide certainly applies across most audio interfaces, for the context of podcasters working in their home studio, we’ll primarily address small two- and four-channel breakout devices that connect to your computer via USB, Firewire and other similar digital connection ports.

So now that you know a bit more about what they are and why you might want one, what are the best USB audio interface options out there right now?

Our 2024 Podcaster Equipment Survey showed that the Focusrite Scarlett 2i2 (14%) and Zoom PodTrak P4 (12%) were the medium’s most popular audio interfaces.

Best USB Audio Interface for Podcasters: Model, Price, & Audio Quality

‘Best’ is always a very subjective term. Of course, it’s going to depend on your own unique needs, setup, and budget. You’ll find a recommendation here that looks right for you.

Just a quick heads up, too, that we sometimes use affiliate links for products we review. This means we may earn a commission if you buy through them, never at any extra cost to yourself. Affiliates help support all the free content we put out on the site on a regular basis. Don’t worry—this never clouds our judgment when giving you our honest opinions!

With that said, let’s dive into the recommendations. Here are my favourite USB audio interface options to date.

Focusrite Scarlett 2i2 – The Best Seller Option

• Cost – $200/£170
• XLR Inputs – 2
• Size – 19.51 x 5.31 x 3.35 cm
• Weight – 640g
• Gain range of up to 69dB (4th Gen)
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

I’ve owned a Focusrite Scarlett 2i2 for many years now, and it’s still an integral part of my home recording setup. This is arguably the world’s best-selling USB audio interface and is used by millions worldwide for recording audio and music.

Now in its fourth generation (earlier generations are still on sale for cheaper), it has many new features compared to my relic of a model, including auto gain and clip protection and a preamp with up to 69dB gain range.

Read our full review of the Focusrite Scarlett 2i2

Focusrite Vocaster – The Ultra-Simple Option

• Cost – $80 (Vocaster One) & $150 (Vocaster Two)
• XLR Inputs – The One has one, the Two has two!
• Gain range of up to 70dB
• Frequency response of 20-20k Hz

Not content with the Scarlett 2i2’s dominance, Focusrite also created the Vocaster, a podcast-specific USB audio interface. This is available for solo or co-host podcasters. Intuitively, the Vocaster One has one XLR input, and the Vocaster Two has two. See what they did there?

With the Vocaster, you can easily connect your phone to bring in guests, or send audio out to your camera, too.

Read our full review of the Focusrite Vocaster

PreSonus AudioBox USB 96 – The Durable Option

• Cost – $99/£72
• XLR Inputs – 2
• Size – 4.45 x 13.97 x 13.97 cm
• Weight – 912g
• Gain range of up to 35dB
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

The PreSonus AudioBox USB 96 is a great option if you’re someone who records on-the-go a lot. Housed in a heavy-duty steel chassis it can, in PreSonus’ own words, “take a serious pounding and remain completely reliable”. They proved this by driving over it in a truck. Case closed!

Read our full review of the PreSonus AudioBox USB 96

Rode AI-1 – The Minimalist Option

• Cost – $125/£95
• XLR Inputs – 1
• Size – 17.78 x 7.62 x 12.7 cm
• Weight – 454g
• Gain range of up to 45dB (updated to 60dB with firmware)
• Frequency response of 20-20k Hz

Sound samples recorded with Rode Procaster, Shure SM58, and Samson Q2U mics. No post-processing has been applied.

The Rode AI-1 may appeal more to folks who record solo or online conversations. It’s a minimalistic little interface that keeps things as simple as possible.

Zoom PodTrak P4 – The Versatile Option

• Cost – $149/£150
• XLR Inputs – 4
• Size – 112mm x 155mm x 47 mm
• Weight – 290g
• Gain range of up to 70dB
• Frequency response of 20-20k Hz

The Zoom PodTrak P4 is a podcast-specific digital recorder which also doubles up as a USB audio interface. This means you’ll be sorted to record up to four local participants and remote guests whether you’re at your computer or not. Obviously, though, with more options comes more complexity, which might put beginners off.

It’s worth mentioning that, when used as a USB audio interface, you don’t have the same multitrack options as you do when recording directly to the SD card. However, there’s nothing to stop you doing both at the same time!

Read our full review of the Zoom PodTrak P4

Shure MVX2U – The Mobile Option

• Cost – $130/£116
• XLR Inputs – 1
• Size – 15.8 x 14.0 x 4.4 cm
• Weight – 100g
• Gain range of up to 60dB
• Frequency response of 20-20k Hz

Sound sample recorded with Shure SM58. The interface applies gain and tone effects whilst recording.

The Shure MVX2U is a great USB audio interface option for the on-the-go podcaster. It’s tiny and lightweight, ideal for running your XLR mic as if it were USB, or even setups like plugging an XLR into your phone.

The MVX2U also has a lot of nice built-in features to help improve your audio. Find out more about its DSP technology, auto gain, and EQ settings in our detailed review.

Read our full review of the Shure MVX2U audio interface

Lewitt Connect 2 – The User-Friendly Option

• Cost – $200
• XLR Inputs – 1
• Size – 20.3 x 15.4 x 6.10 cm
• Weight – 780g
• Gain range of up to 72dB
• Frequency response of 20-20k Hz

The Lewitt Connect 2 reimagines the way a USB audio interface should look. If you’ve never used an interface before, then you’ll likely find this design more intuitive. But if you already know your way around the likes of the 2i2, the transition might be slightly more jarring.

It’s a touch-based interface, so settings can be “locked in ” and can’t be accidentally knocked or turned when the device is off. The Connect 2’s companion software comes via the Lewitt Control Centre, which has a clip guard preset and a handful of vocal enhancement options.

Read our full review of the Lewitt Connect 2 audio interface

Part 2: The Ultimate Guide to Audio Interfaces

Looking for a deeper dive into audio interfaces beyond a few top-level USB audio interface recs for podcasters? Then read on. In part two of our guide, we’re going to explain some of the terminologies around audio interfaces, as well as answer some frequently asked questions.

Can I Use the Audio Interface Within My Computer?

There’s little that would compel me to recommend using the audio interface built into your laptop. They’re noisy, unbalanced and made of components with varying degrees of quality in order to keep costs down. This applies to the interface on smartphones as well.

There are obvious benefits of recording away from your computer altogether. Without the help of a control room, fan noise and other computer sounds can bleed into the recording.

However, there are times when having a computer nearby is necessary, either for productivity or workflow, or, because you’re using a USB audio interface. For that, we need an interface that will suit our needs. And that’s where things get tricky.

Different sound devices are made for different applications. For example, I wouldn’t use a Presonus Audiobox to record sound effects. The mic preamps are too noisy for detailed sound recording, and the device doesn’t handle the sampling rates I need. For voice, however, the Audiobox would likely suit many people’s needs.

So, what are you looking for? Let’s look at the different features you’ll find, and what they mean.

USB vs Firewire

I hear arguments regarding USB vs Firewire all the time. I don’t intend to rehash them, as most are highly subjective. The arguments are often weighted by whether the individual uses a Mac or PC, and they fail to look at the bottom line: both USB and Firewire are plenty fast enough to handle your audio signal.

The most determining fact in whether to use USB or Firewire (or PCI, or Fireport, or Thunderbolt) is your computer. If your computer is not slotted with Firewire interfaces, there isn’t a compelling argument for purchasing a separate firewire interface to make other hardware work.

Analog vs Digital

Overall, the average user is going to be considered with analog inputs and outputs (I/O). Analog I/O refers to any signal where audio information is transmitted in the form of electrical pulses. In other words, if you plug a microphone, guitar or monitor into an input or output to transmit or receive sound.

This becomes confusing because the main purpose of an audio interface is to convert your audio to a digital signal. Or, to convert from digital back to analog in the case of outputs. An easy, if oversimplified, way to think of it is that if you can hear it with your ears, even if it is from a digital source, what you’re hearing is an analog signal.

Digital Inputs and Outputs (I/O)

Digital I/O ports include MIDI, SCSI, Timecode, optical, S/PDIF and other ports used to carry machine-readable digital information from one system to another without converting them to an analog sound source first.

I cover digital inputs in the context of recording voice only because it’s commonly a feature on audio devices. If you use outboard mic preamps, digital mixers or other digital devices in your chain, it’s important to ensure your devices have compatible digital inputs. Otherwise, you can likely overlook this feature.

Analog I/O

Analog Inputs and Outputs are one of the most important items to pay attention to. Typical external sound cards support both XLR and balanced TRS (¼”) cables, often in the same port (referred to as a combo connector). Ensure you use a balanced connection to avoid unwanted electrical interference. And make sure the audio connections on your interface match the connections on your microphones, monitors and other equipment.

Another Analog I/O factor is the number of ports. Audio Interfaces typically have two inputs and two outputs (2×2). Some have four inputs and two outputs (4×2).

It’s important to know how many devices you intend to connect to your audio interface in order to determine number of input and output ports. Multiple monitor combinations (5.1, quad, 7.1, etc) require an output for each monitor. Recording multiple actors requires enough inputs for each microphone you intend to plug into the device. For most podcasters and voice actors, a 2×2 or even a 1×2 recording device (like most USB microphones) are sufficient.

MIDI Ports

MIDI is used primarily for communicating between sequencing software and digital instruments and equipment. MIDI can also be used to control external peripherals like rackmount reverb modules. Unless you are a musician, a sound designer or a lighting designer, you likely don’t need MIDI ports.

Word Clock

Word clocks are used to synchronize digital playback and recording devices. Typically the internal clock from your computer hardware or software is sufficient. Again, unless you are heavily into creative audio production and design, a word clock is likely not a determining factor in an audio interface.

Driver Support

There are a number of different audio driver types. The key here is to ensure your audio interface meets your hardware and software needs. PCs typically run ASIO, WDM and MME. ASIO is low-latency. Core Audio is OSX’s low-latency driver. Ensuring your audio device is ASIO or Core Audio compatible will allow the widest compatibility. Check reviews for inherent issues between PC and Mac compatibility before you purchase.

Software Compatibility

I’ll be honest here. This is primarily a Pro Tools consideration. It’s also one of the reasons I’ve gone through so many audio devices. If you’re working in Pro Tools, this can be a frustrating trial and error. Something as simple as the crystal used in the sync clock of your audio device can make Pro Tools choke. This is less an issue since version 11, and there are a number of workarounds using a go-between software audio interface like ASIO4ALL (PC) or Soundflower (MAC).

Most podcasters don’t need anything as complicated as Pro Tools for their audio production. Audition and Audacity are two popular choices, whilst Alitu is the easiest way to record, edit, and produce a podcast.

Sampling Rate

Sampling Rates for most applications run from 44.1 to 192 kHz. Lower sampling rates are available, however they’re typically used for telephony, toys and other situations that do not require high-fidelity recording. In general, most studios record voice at 48 kHz. This allows some breathing room in the audio, and gives audio editors and designers a little room to stretch and pitch voices without losing audio fidelity.

For most voice and interview podcasts, 44.1 kHz is sufficient to capture excellent vocal audio. For voice actors, I recommend sticking to the 48 kHz studio standards. If you do voice for creature effects, higher sampling rates may be desired.

Bit Depth

Bit depth is important in determining your dynamic range for recording. Dynamic range is the difference between the softest signal your device can register above the noise floor and the loudest signal your device can reproduce without distortion. 16-bit is suitable for most podcast voice applications. For voice actors and studio professionals, 24-bit is standard. 32-bit is starting to become more common, but again these are typically used by folks like me who need to record loud engines, shotguns and jets without distorting.

Battery Power

This is for those of us who use our audio devices in the field. Handheld devices, like the Zoom H5, often have a setting to operate as an audio device on most computers. This makes them more adaptable for recording interviews in that cafe, rather than being tied to the studio.

Technical Specs

In A Beginner’s Guide to Microphones for Voice, I covered a number of different technical considerations when comparing microphones. The good news is, most of that information applies here as well. Let’s review!

Frequency Response

Frequency response refers to the range of frequencies your microphone can accurately reproduce at an equal level. Audio interfaces should record anything from 20hZ to 20kHz, the range of human hearing, and I would be highly dubious of any interface that doesn’t record at a minimum of that range.

Impedance

Impedance is a measure of your equipment’s resistance. Low-impedance, or low-Z, inputs allow long mic cable runs without introducing noise or reducing frequencies.

Equivalent Noise Level

Also known as self-noise, the equivalent noise level is the electrical noise or hiss a microphone produces. In general, a self-noise specification of 28dB and lower is acceptable for quality recording.

Signal to Noise Ratio (S/N)

This is the difference (in dB) between the audio interface’s sensitivity and the equivalent noise level. 64dB and higher is good. Here’s more on signal to noise ratio.

Audio Interfaces for Podcasters: FAQ

Alright, continuing our masterclass, time for some more frequently asked questions around audio interfaces.

What is a Preamp?

Sometimes audio interfaces are referred to as “preamps”, but this isn’t entirely accurate.

A preamp is any type of gadget that boosts the signal from your microphone, making it stronger and clearer. It’s like turning up the volume on your mic, but more precise and controlled. Audio interfaces have preamps built-in, and these preamps are specifically designed to work with the interface, so you get the best possible sound quality.

So, audio interfaces have preamps, but they aren’t “preamps” in themselves.

Where Are My Recordings Saved When Using an Audio Interface?

A USB audio interface won’t store and save audio itself – that will happen in whatever DAW or recording software you’re using.

Inside any software you’re using, you just need to remember to set the interface as the “input”. So, for example, I might be recording with a Samson Q2U mic into my Focusrite Scarlett 2i2 USB audio interface and Adobe Audition. Audition – the software – will ask for my input, and I’ll select “Focusrite Scarlett 2i2”. Some podcasters get confused here because they try to find and select their mic instead. But as the mic runs into your interface, your DAW will treat the mic and interface as one device.

Digital recorders are a type of audio interface that can store audio directly via a memory card, without the need for a computer. You can also set up most digital recorders to work as USB audio interfaces, but at that point, they’ll store audio on the computer (via your software) instead.

Can an Audio Interface Improve My Podcast Sound Quality?

Yes and no. In an ideal world, better equipment means better sound quality in your end product. But there’s a lot more to it than that.

You can buy the best gear in the world, but if you’re recording in a suboptimal environment with loads of reverb and your mic technique is terrible, then your podcast will sound bad.

Fortunately, it doesn’t need to be difficult or expensive to create a podcast studio. And, your mic technique can be optimised with a few simple tips. Once you have these essential basics nailed down, then there can be a noticeable jump in quality if you’re transitioning from a cheap USB mic to an audio interface setup.

What is Phantom Power?

Phantom power is a way to send power to a condenser microphone. It usually appears as a little LED light on an audio interface or microphone.

When you turn on phantom power on your audio interface or mixer, a little bit of extra voltage gets sent through the microphone cable, which powers the condenser element in the microphone. Without phantom power, the microphone might sound really quiet or not work at all.

Make sure you check if your microphone needs it before you turn it on – some microphones, like dynamic mics, don’t need phantom power and could even be damaged by it. And when you do use phantom power, turn it off before unplugging the microphone, or you might hear a loud pop that could damage your equipment.

Monitoring via the Headphone Jack

Every USB audio interface on the market will have at least one headphone jack. It’s best practice to plug your headphones in here and monitor your recordings. This allows you to hear the audio in real-time as it’s being recorded.

Monitoring through headphones ensures that you can hear the exact same audio that’s being captured by the microphone or other input device. This is important because it allows you to catch any issues with the recording right away, such as unwanted background noise, clipping, or distortion.

By monitoring your recordings through headphones, you can also ensure the audio levels are set correctly. If the levels are too low, you may end up with a recording that’s too quiet and difficult to hear. On the other hand, if the levels are too high, the recording may be distorted and unusable.

What Are the Best USB Audio Interfaces for Podcasters? Summary

As I’ve said already, the best option for you will depend on your unique needs, setup, and budget. By looking over the input options, specs, and costs, and listening to the sound samples, you’ve maybe even made up your mind by now.

I’m heavily biased towards the Focusrite Scarlett 2i2 because I’ve owned one for so long, and my model can’t even do half of what the latest (4th Gen) iteration offers. That said, if I were just starting out, I’d probably opt for the Vocaster instead because it’s so podcast-specific. Another podcast-specific kit here is the Zoom PodTrak P4 – a better option for anyone doing most of their recordings on the go.

Need More Help?

If you’re still weighing up what gear to buy, remember to also check out our Best Podcast Microphones and Podcast Equipment roundups. You’ll find all our top choices right there.

We also have courses on everything from equipment choice and setup, to audience growth and monetisation inside Podcraft Academy. We run weekly live Q&A sessions in there too, so you can get regular tips, advice, and support that’s uniquely tailored to you.

• The terms “condenser” and “dynamic” refer to two different ways microphones are built and function
• Both types of microphones have their potential pros and cons
• Dynamic mics are often more durable and can handle high volumes without distortion
• Condenser mics are often capable of recording a more crisp and detailed sound
• Most vocal USB mics are condensers
• But the ultra-useful Samson Q2U is a dynamic mic
• So which type of mic is best suited to you? Read on and find out…

Searching for a new microphone can be a daunting task. There is no shortage of info and options out there, and, sometimes too much choice is as bad as none at all.

When searching for a new mic, you’ll have a few “this or that” choices, too. XLR Vs USB is one. Condenser Vs Dynamic is another. It’s the latter we’ll be focussing on in this post, so let’s find out exactly what these terms mean and why they matter.

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 »

Condenser vs Dynamic: Transducer Types

Microphones are a form of transducer. This means that microphones convert energy from one form (acoustic or kinetic energy) to another (electrical energy). There are three transducer types commonly associated with microphones: condenser, dynamic, and ribbon transducers. However, for most vocal applications dynamic and condenser microphones are used. Ribbon microphones, while excellent in quality for sound reproduction, tend to be very expensive and extremely delicate.

So what’s the difference between dynamic and condenser mics? Let’s take a closer look at how they each work.

Dynamic Mics: How They Work

Dynamic microphones operate by suspending a coil of wire connected to a diaphragm inside a magnetic field. When sound vibrates the diaphragm, the coil vibrates and produces an electrical signal.

Dynamic Mic Characteristics

• durable
• handle heat and humidity well
• high volumes without distortion
• rougher, but usable, audio signal

Dynamic Mic Applications

Dynamic microphones are good for general vocals that don’t necessarily need accurate and smooth reproduction, such as interviews, hosting, and live venues.

Due to the rougher sound characteristics, dynamic microphones with a cardioid pattern (more on polar patterns in a bit) tend to eliminate more background noise, although they may lose some nuances in a performance. This makes them well-suited to podcast hosting, general voice recording, and recording voices outdoors for voiceover or interviews. They are also suitable for recording very loud items, such as drums, guns, and explosions.

Condenser Mics: How They Work

Condenser microphones operate by vibrating a conductive diaphragm against a charged backplate to convert acoustic energy to electrical energy.

Condenser Mic Characteristics

• smooth frequency response
• clear, detailed sound with crisper highs
• excellent low-frequency response
• not suited to extremely hot or humid environments

Condenser Mic Applications

Condenser microphones are good for most studio applications, including voice acting. They produce a clarity of voice while giving it both warmth and presence.

Condenser microphones are the industry standard for voice actors. The Neumman U87 (pronounced NOY-man for you lubbers) is iconic and has defined the sound that the voiceover industry and producers look for. If you have around $4000 to spend on one microphone, I highly recommend it. For the rest of us, there are comparable mics that offer exceptional quality. We’ll talk through some affordable recommendations a bit further on.

Finally, condenser microphones are also excellent for field recording. They are more sensitive than dynamic microphones and have a flatter response that is suited to capturing detailed audio.

Condenser Vs Dynamic: Which To Choose?

If this is all a little overwhelming, don’t worry about it. You’ll find many podcasters out there who’ve been using the same mic for years and couldn’t even tell you if it was a condenser or a dynamic. Ultimately, you don’t need to know how your mic is built. You just need to judge it on how it sounds to you.

As I’ve said, we’ll be pointing to some recommendations shortly. But this next section on polar patterns is worth a quick look. If you own a mic with multiple polar pattern settings, then choosing the right one for your situation can make a big difference in your audio quality.

Vocal Mic Factors Beyond Condenser Vs Dynamic

The choice between dynamic and condenser microphones is only one chapter of a bigger story. There are other factors, too. One of the most important is actually what’s known as polar or pickup patterns.

Polar Patterns

Polar patterns illustrate how a microphone reacts to sounds coming from different directions. There are several polar pattern types, but our main focus for vocal microphones is on omni and cardioid polar patterns.

Omni

An omnidirectional microphone receives sound with equal sensitivity from all directions. This means that audio coming from the rear and to the sides of the microphone will be picked up with equal volume and clarity.

Omni Characteristics

• pick up of room reverberation
• extended low-frequency response
• lower cost

Omni Applications

Omni microphones are good for recording situations where sound isolation is not needed or wanted. They are particularly useful for interviews and situations where more than one vocal needs to be recorded, but sound isolation is not a factor.

Cardioid

Cardioid microphones are most sensitive at the front of the microphone, typically about 6dB less sensitive to the sides, and around 20dB less sensitive to the rear of the microphone.

Cardioid Characteristics

• less reverb pickup than omni
• less room noise pickup than omni
• minimises off-axis pickup

Cardioid Applications

Cardioid microphones are ideal vocal microphones for one-voice-one-microphone applications. Voice actors and show hosts benefit from off-axis pickup reduction focusing the sound on what matters most: the speaker’s voice.

The majority of studio-based professional audio requires unidirectional microphones (cardioid, hypercardioid, or supercardioid). Voice actors and podcast hosts (and vocalists!) are likely to find that microphones with a cardioid polar pattern will suit their needs best. Hypercardioid and supercardioid mics work well, too, depending on your voice and application. However, they tend to be more expensive and lack the warmth that a large-diaphragm cardioid delivers to more resonant male and female voices.

Here’s our full guide to microphone polar patterns, if you’re in the market for some geeky audio engineer tattoo ideas.

What Is Frequency Response?

Another key factor beyond the dynamic vs condenser discussion is that of frequency response.

Frequency response refers to the range of frequencies your microphone can accurately reproduce at an equal level. Understanding frequency response is one of your best tools when researching audio gear.

Simply put, frequency response shows how a microphone affects the way your voice sounds. In general, when looking at a frequency response graph, you want the graph to be as flat at possible in the frequencies the microphone is being used to produce. In terms of voice, we are most concerned with the frequencies between 80Hz and 12kHz: the human vocal range.

Some microphones will have slight peaks in the 5–12kHz range to improve presence, or some lift in the 500–800 Hz range to improve warmth. These characteristics can be desirable, depending on your production and scope.

In order to reduce low-frequency rumble and high-frequency hiss, microphones that roll off below 80Hz (high pass) and above 12kHz (low pass) are best suited for voice. This is especially helpful in cutting down on noise from vehicles and HVAC systems. However, this can also be accomplished by using an EQ highpass and lowpass to filter out these frequencies.

Related Article

Audio Troubleshooter Guide: Stop! What’s That Sound?

Too often, the words “fix it in post” are uttered for things best corrected early. By troubleshooting audio issues in the recording stage, you can save time and headache afterward… Find out more »

Other Factors Beyond Condenser Vs Dynamic

Beyond the questions of condenser vs dynamic, polar pattern, and frequency response, here are some other factors to consider when researching and purchasing a microphone.

Impedance

Impedance is a measure of a microphone’s resistance. Higher resistance in a microphone introduces hum and reduces high frequencies, making the recording sound noisy, or thin. Low-impedance, or low-Z, microphones allow long mic cable runs without introducing noise or reducing frequencies.

Sound Pressure Levels (SPL)

Sound pressure levels indicate the maximum sound intensity a microphone can handle before distorting. In general, a spec of 120dB or greater is preferable. For podcasters miking loud instruments, such as brass or drums, microphones with a higher maximum SPL are best.

Equivalent Noise Level

Also known as self-noise, the equivalent noise level is the electrical noise or hiss a microphone produces. In general, a self-noise specification of 28dB and lower is acceptable for quality recording.

Signal to Noise Ratio (S/N)

This is the difference (in dB) between a microphone’s sensitivity and the equivalent noise level. 64dB and higher is good.

Related Article

Understanding Audio Cables: Do You Know Your RCA From Your Elbow?

XLR, USB, TRS, RCA… here, we’ll help you identify and understand each type of audio cable, as well as its uses!  Find out more »

Do I Need to Know All This?

Let’s be honest; most people don’t get into podcasting because they want to become audio engineers.

And whilst this is all useful knowledge, it’s understandable that you might find certain things a bit too technical, or even just a little boring. That’s totally fine!

With that in mind, we try to review as many different vocal mics as we can on the site. This hopefully means that we can give you the lowdown of each at-a-glance. We can run you through the key points. How does it sound? How does it look? How much does it cost?

That should be much easier than pouring over the intricacies of mic specs on Amazon. But, if that’s the sort of thing that does interest you, then be sure to bookmark this article.

Editor’s Note

There’s no doubt that some people go right down the rabbithole with mics, and with good reason. Vocals are one thing, but imagine having to record instruments, too, or even a full drum kit! Rather than one mic, you then need a whole set, and to cover an enormous range of frequencies. To see what I mean, check out the photo of a 7-mic setup at the bottom of this drum mic kit article.

Condenser Vs Dynamic: Mic Recommendations

Here are some reviews and guides worth checking out if you’re in the market for a new microphone.

• Best Podcast Microphones
• Best USB Microphones

Great Condenser Mics

• AKG Lyra
• Samson Satellite
• Shure MV5

Great Dynamic Mics

• Samson Q2U
• Rode Procaster
• Rode Podcaster

Bonus Resource: Free Online Mic Test

Need More Help?

Whether you need advice on equipment or guidance on any other aspect of podcasting, you’ll find the help you need in the IndiePod Community, where no podcaster is left behind.

And, if you’re feeling clued up on the podcast equipment side of things, it’s time to start thinking about software. Our podcast maker tool Alitu lets you record, edit, produce, publish, and host your show, all within one easy-to-use interface. Try it out free for seven days at alitu.com.

It can mean the difference between a dry, professional recording and a hollow, incomprehensible interview. The difference between a clean mix and a muddled mess that doesn’t sound its best outside of the studio in which you mixed it.

Luckily, there are several tips and tricks to tame that recording environment and get a great sounding take whenever you press record. We’re going to run through them in this handy guide, and by the end of it, you’ll be armed with the knowledge to make unwanted echoes a thing of the past.

Editor’s Note

Our guide on “what is reverb and how to fix it” was originally written in 2018. We update this post periodically to reflect changes in technology, our recommendations, and because we’re always learning new things. We sometimes use affiliate links to products we think you’ll find interesting. We’d earn a small commission, should you choose to buy through them, and never at any extra cost to yourself!

What is Reverb? Reflections, Flutters and Standing Waves

Reverb in a room is a result of reflections.

Sound travels from the source. The sound hits a wall or other surface and bounces back into your ears at a delay, causing a reverb or echo.

But unlike light, sound doesn’t travel along a single path. It resonates outward and bounces against many surfaces simultaneously or in succession, forming several reflections that define your acoustic space.

Additionally, the location and size of something reflecting your audio can cause a build-up of certain frequencies.

Walk into any standard rectangular room without carpeting. Stand near a corner and clap your hands. Unless that room has been built to precise acoustic dimensions, chances are you’ll hear a slight warbling ring after you clap your hands. This ring is called flutter.

Now imagine your voice or your mix in this space, and you’ll begin to understand how that annoying little ring can produce sub-optimal results when recording or mixing there.

Similarly, stand in the corner of the room and speak in a low natural voice. You’ll notice that your lower register resonates more. A boxy reflection occurs as your voice bounces not only off the corner walls and into your ears, but off the ceiling above and the floor below you. This produces a standing wave that unnaturally enhances the bass reflections in your room.

Alright, so How Do I Fix Reverb? (Absorbers & Diffusers)

Fortunately for us, there are several ways to tame a room. And not all of them involve shelling out hundreds of dollars for Auralex products.

Most of these reverb-taming techniques involve things called absorbers and diffusers. But what do we mean by “absorbing” or “diffusing”?

Well, any given surface in a room does one of three things to any sound that hits it: absorb, reflect, or diffuse.

In reality, all surfaces do all of these things to one degree or another, depending on the characteristics of the sound, but it helps to understand it more simply.

The characteristic we’re most trying to avoid in our space is reflection. Specifically, direct reflections that are going to bounce off the walls and into your ears or microphone.

This means that we want to create a space that either absorbs or diffuses the sound in the room – without necessarily deadening the sound of the space being recorded in.

So, what exactly can we add to our recording setups or environments to help absorb or diffuse the sounds around us? Here are a few options.

Gobos

A gobo (an industry name, short for “go between”) is mounted to a microphone stand to absorb sound behind the microphones and to the sides. They’re also referred to as reflection shields.

Reflection shields work great in non-harsh acoustical environments that just need a little absorption to prevent echo. If you are recording in a bedroom or a clothes closet, this may be all you need.

Related Article

Acoustic Blankets for Podcasting | Kill the Reverb in Any Environment

Blankets aren’t just for sleeping under – they can also improve the sound of your podcast. Here’s how…  Find out more »

Acoustic or Sound Blankets

Sound blankets (AKA, Moving blankets) are a staple for controlling sound in film and audio recording locations. Be sure to get the quilted moving blankets, as they absorb sound much better.

I used some inexpensive shower rings to hold the sound blankets to the PVC and get solid professional results.

Absorbers

Looking around the internet, you might get the impression that Auralex has cornered the market on sound absorption materials. Thankfully (and less expensively) nothing can be further from the truth.

For a bit of the DIY treatment, some Owens-Corning 703 fiberboard wrapped in burlap, duckcloth or similar, has great absorption.

Here are some options for buying studio foam absorbers, too.

Types of Absorbers for Reverb

One type is porous absorbers, which are made of materials like fiberglass or mineral wool. They work by absorbing sound energy as it passes through small pores in the material. Porous absorbers are great for absorbing high-frequency sounds, but not as effective for low-frequency sounds.

Another type is membrane absorbers, which consist of a flexible membrane stretched over an air gap. When sound waves hit the membrane, it vibrates and converts the sound energy into heat. Membrane absorbers are effective at absorbing mid-range frequencies.

Panel absorbers, on the other hand, are made of rigid materials like wood or gypsum board with an air gap behind them. They work by trapping sound waves in the air gap and converting the sound energy into heat. Panel absorbers are effective at absorbing low to mid-range frequencies.

Resonant absorbers are another type of absorber that use a resonant cavity to absorb sound energy. They are made of a box with a hole in it, filled with a material like fiberglass. When sound waves enter the box, they bounce around and lose energy, which is then absorbed by the fiberglass. Resonant absorbers are effective at absorbing low-frequency sounds.

Finally, diaphragmatic absorbers are similar to membrane absorbers but use a stiffer, heavier material like plywood. When sound waves hit the diaphragm, it vibrates and converts the sound energy into heat. Diaphragmatic absorbers are effective at absorbing low-frequency sounds and are often used in recording studios.

Where to Hang Your Absorbers & Diffusers

Okay. So, you’ve got your absorbers and/or diffusers and you want to know where to put them. Here are two methods to get you going.

Method 1: There’s An App For That

Auralex has produced an app for both Android and iPhone that helps you map your recording space and shows you the optimal placement of absorbers and diffusers in your space.

Method 2: The Mirror Test

The mirror test is a fairly simple means to determine where to hang your acoustic foam.

1. Place your monitors (for a listening room) or a stationary object (for a vocal room) where the monitors or speaker will normally stand.
2. Place a compact or hand mirror against each wall in the room, level with the monitors or object.
3. Mark any spots along the wall where the monitors or object are visible from the mirror while standing directly in front of it, including the wall directly in front of and behind, as well as the ceiling.
4. Install your foam and diffusers where you’ve marked using the mirror.

What is Reverb & How to Fix It: FAQ

Reverb and acoustic treatment are common topics that come up in our Podcraft Community and Podcraft Academy Live Q&A Sessions. Let’s look at some of the most frequently asked questions we hear.

Should Podcast Home Studios Be Entirely Free From Reverb?

In short, no. Reverb will almost always be there, even when you’ve treated your room enough that you can no longer hear it.

Many podcasters won’t be in a position to entirely treat an environment, either. Getting rid of excessive reverb or echo is important if you want your content to sound semi-professional, but if “good enough” means you can now get on with your content creation, then leave it at that.

Of course, if you’re really struggling on this front, you always have the option to take your recording outdoors. Check out our full guide to help weigh up whether this is a good option for you.

Related Article

Can I Record a Podcast Outside? (Yes, & You Probably Should)

Recording your podcast outside might give it a better level of sound quality. It can even improve your presentation style.  Find out more »

What Kind of Walls Are Worst for Reverb?

Generally speaking, hard and smooth surfaces are the ones you want to avoid.

Think of a recording studio with walls made of concrete, glass, or metal. These walls don’t absorb sound very well, instead, they reflect it back into the room. This creates a lot of reverb or echo, making your audio sound muddy and indistinct.

On the other hand, soft and porous walls are much better for reducing reverb. Walls made of materials like foam, fabric, or cork absorb sound waves, preventing them from bouncing around the room.

What is Reverberation Time, Reverb Times, or Reverb Decay?

As we’ve covered already, reverb is created when sound waves bounce off surfaces in a room, creating a series of reflections. The time it takes for these reflections to decay and dissipate is known as the reverberation time or reverb time.

In other words, the reverberation time is the length of time it takes for sound to decay by 60 decibels after the sound source has stopped. This time is typically measured in seconds and can vary depending on the size and shape of the room, as well as the materials used in the construction of the walls, ceiling, and floor.

Reverb times are important to consider when recording audio because they can greatly affect the quality and clarity of your recordings. Rooms with long reverb times can create a lot of echo and make your audio sound muddy, while rooms with short reverb times can create a dry, sterile sound.

What Are Reverb Tails?

Similar to the terms above, reverb tails are the lingering echoes that continue after the original sound has stopped. They’re an important part of the overall sound of a recording, and can greatly affect its perceived quality and depth.

Short reverb tails can create a more dry and upfront sound, while longer reverb tails can add depth and space to a recording. The character of the reverb tail can also vary depending on the type of reverb effect used – for example, a plate reverb may have a smoother, more natural decay, while a digital reverb may have a more precise and defined decay.

Related Article

How to Create a Silent Home Podcast Studio That Sounds Great

A home podcast studio can be as simple as spending $10 at the pet store. Intrigued? Here are our top tips for soundproofing & treating a space. Find out more »

Conclusion: What Is Reverb? (and How Do I Fix It?)

Really effective sound treatment doesn’t have to cost an arm and a leg. A little DIY and some diligent mirror work can save you a bundle on equipment and immeasurably improve the sound of your recording or mixing space. Your podcast listeners will notice the difference!

If you’d like more tailored help with creating your recording environment and improving your audio quality, check out Podcraft Academy – that’s where you’ll get access to all of our courses, and we run weekly live Q&A sessions in there, too!

So, let’s get to know the humble compressor, starting with the obvious question…

What is a Compressor?

Recording voice, instruments and other sounds can result in large differences in the recorded dynamics (volume levels over the course of the performance). This leads to some very loud and some very soft sounds in an overall performance.

These variances are difficult to mix, or sometimes inaudible in the track. A compressor helps compensate, by limiting the dynamic range.

Dynamic range: the difference in amplitude (dBa) between the loudest and the softest audio in the track.

Let’s take a look at the settings on a compressor and see what makes it tick. I’ll be showing the Dyn3 compressor found inside Pro Tools, but nearly every compressor contains a similar form of these settings (except perhaps Gain Reduction, which varies from compressor to compressor). It should be easy to translate this into Audacity, Audition, or any other DAW.

Editor’s Note

This popular Audio Compression Explained guide was originally published in 2018 but remains every bit as relevant today. Before we dive on in to learn about compression settings, it’s worth pointing out up front that, whilst some folks love to learn and master (no pun intended) techniques like compression, others might not be so keen.

The good news is that these days, you don’t need to know the ins and outs of compression to use it in your podcast. The ‘Podcast Maker’ tool Alitu does it for you automatically (along with other audio processes like Noise Reduction) and is perfect for those who just want to get their content out there. So if that’s you, be sure to check out Alitu with a 7-day free trial, and if you DO want to learn all about audio compression, then read on

Audio Compression Explained: The Settings

When you’re dipping into any compressor tool for the first time, these are the settings you’ll most likely be confronted with. Let’s find out more about them and how they work.

Ratio

Compression ratio is the first adjustment I make when using a compressor. The ratio determines the amount of compression added to the input audio. In the most basic terms, a ratio of 4 to 1 (4.0:1) indicates that for every 4 dB (4.0) of increased volume in your input, the compressor will only allow a 1 dB (1) increase in the output.

Some compressors plot the ratio as a transfer curve. The X-axis represents the signal’s input and the Y-axis represents the compressed output. A ratio of 1:1 means no compression is taking place. A ratio of 20:1 or greater (up to 100:1,inf:1 or ∞:1) means the compressor is acting as a limiter (discussed below).

Note: The graph here also represents threshold and knee, and I’ll cover them in the following sections!

Threshold

My next go-to knob after setting the ratio is the threshold. Threshold is the smallest amplitude the compressor needs to detect before compressing. Any signal under the threshold is given no compression (1:1). Compression is applied to signals above the threshold.

If the threshold is too low, any hiss, noise, room tone and mouth noises are compressed with the rest of the audio signal. When applying gain to bring your volume to mix level, all that noise and other garbage will also be made louder in the mix. As you’d imagine, that’s not what you want.

Set the threshold at the minimum level of the desired audio input. That is, set the threshold to the lowest volume of the recorded instrument or sound. Then adjust by ear, until you find the desired threshold.

When setting any setting, your ears are more reliable than the numbers on the screen in determining which value is correct. While there are general numbers that will work for specific situations, no number is perfect for all situations.

Related Article

How Loud Should a Podcast Be? Dynamic Range & Podcast Volume Levels

Ever wonder about podcast volume levels, and how loud a podcast episode should actually be? Here’s our full guide to podcast loudness.  Find out more »

Gain

Now that we’ve compressed our signal, we want the level audible in the mix before we fine-tune. Compressed audio leads to a decrease in volume. If we have an input signal between -60 dB and 0 dB, we have a dynamic range of 60 dB.

Compressing that signal by 4.0:1 squashes that signal by ¼ (invert the ratio). This leaves us with an output dynamic range of about 10 dB (60 ÷ 4).

Any signal above our -15 dB threshold will reach at most an amplitude of -9. You’ll need to boost your output signal gain by 9 dB if you want your loudest levels to reach 0 dB.

Gain Reduction and Auto Gain Correction

Many compressors have a gain reduction meter in the levels or output indicator. They are a visual representation of your gain loss as we described above. In terms of our example, the meter would display its highest value at or around -9 dB. From there, we could adjust the gain knob until the output meter reached the desired level.

Some compressors have a checkbox or setting that allows for auto gain correction. Auto gain correction automatically sets your gain values according to the calculated gain reduction.

Attack and Release

After you have your compression settings dialled in, some fine-tuning is needed to settle the audio into the mix. Setting your attack and release times will help smooth out some of the transition.

I tend to keep my attack settings over 50 ms to reduce pumping and harmonic distortion in the lower frequencies. At minimum, attack times should engage the compressor before the signal completely decays.

Release times should allow the compression to fall off naturally at the end of a sound. Too short release times result in clipped, unnatural sounding ends of words. Too long release time allows audio below the threshold into the compressor. Typically a release of 80 – 150 ms is enough for most dialog.

Related Article

The Audacity Compressor: Fix Your Podcast & Audio Volume Issues

The Audacity compressor can level out your audio & help to fix many volume issues. Find out how it works, right here. Find out more »

Soft Knee vs Hard Knee

‘Knee’ refers to the bend in the transfer curve between the compressed and uncompressed audio.

A hard knee will immediately compress the signal after reaching the threshold. A soft knee gradually attenuates the signal before and after the threshold to make a more gradual sweep into the compression.

Soft knee compression is often more pleasing to the ear. Use the soft knee for things like vocals and melodic instruments. Drums and concussive sounds often sound better with a hard knee.

Many compressors have a switch that sets either soft knee or hard knee. Others are dialled into a specific setting. The dB setting of a dialled knee refers to the level above and below the threshold that the compressor will begin to attenuate the signal.

Attenuate: To reduce the level of a signal

Limiter

What’s the difference between a limiter and a compressor? In actuality, a limiter is a type of compressor. More accurately, a limiter is a compressor set to a very high threshold and a very high ratio. Anything above the threshold compresses to keep the signal from clipping or going over the desired threshold, hence limited.

Any compression over 20:1 is a type of limiting. A brickwall limiter – common for recording loud percussive noises like explosions and gunshots – is a compressor set to a threshold of -1 db with a ratio of 100:1,inf:1 or ∞:1.

To clarify how this works as a type of compression, a ratio of ∞:1 means that for every infinite dB of gain of input (in other words for any gain) the compressor allows only 1 dB of output gain. Used properly, limiting keeps your loud signals from clipping. However, too much limiting can cause an unnatural squashed sound.

Audio Compression Explained: Compression Is Your Friend

Out of all the tools in my audio arsenal, compression and limiting are the ones I use the most often. Properly used compression helps compensate for extreme volume adjustments in recorded tracks, allowing smoother, more consistent listening levels for the listener.

To Learn Compression (Or Not?)

Only you can decide whether or not this is a tool you’d like to master.

Yes

Like anything else, with a bit of playing around, trial and error, you’ll begin to use compression effectively in your audio. Knowing the ins and outs of it will give you more nuanced control over your sound, along with the added satisfaction of having learned a new skill. Why not open up Audacity, Audition, Hindenburg, or your editing software of choice and give it a go?

No

For those with no interest in knowing anything about how audio and sound works (podcasters who just want to get their message out there) then tinkering with compression isn’t time best spent. Outsource your production to an audio pro, or use a ‘Podcast Maker’ tool like Alitu which runs processes like compression and noise reduction automatically.

Note: I know it’s a frenulum, but that doesn’t roll off the tongue…
so to speak. TW: Alliteration and dad jokes ahead. Strap in.

1. Practice and Preparation

The key to mastering any instrument is practice. Whether for speaking or singing, the human voice, as an instrument, is no different. It needs practice. And the more you practice, the better you get at taming those hard to say sentences.

For tip number one on this list of vocal warm-up exercises, I can’t stress enough the importance of reading through a script ahead of time. Not silently, but aloud. Get the words into your mouth and see how you feel. If the material is your own, this is an opportunity to rewrite in a manner that is easier for you to articulate, practice those troublesome phrases that have you tripping, or simply familiarize yourself with the material and words before it’s time to record. Read. Make notes for yourself. Practice.

2. Give Your Tongue a Stretch

The tongue is a muscle. As such, it can use a stretch now and then to loosen up the muscle tissue and tendons. While we’re at it, the jaw and lips can use a little stretch, too, as they are essential in shaping our articulations. There are several stretches you can do with your face. Here’s an example you can tweak to your preference:

Do each step for a five-count

1. Relax your jaw with your lips closed.
2. Stretch your jaw as far open as you can while keeping your lips closed
3. Shift your jaw from left to right and back with your lips closed
4. Shift your jaw while opening and closing your mouth, like a cow chewing bubble gum.
5. Relax your jaw with your lips open.
6-8. Repeat 2-4 with your lips and jaw open.
9. With your jaw and lips open, stick out your tongue as far as it with stretch.
10. Move your tongue slowly as far as it will stretch in all directions in your mouth.

For added benefit, this vocal exercise can be performed in public. It won’t improve your technique, but it will ensure people steer clear of you, giving you ample room and quiet to record.

3. Practice Tongue Placement

“The tip of the tongue, the teeth, the lips.” This simple vocal warm-up exercise repeated is great practice for tongue placement of common articulations. The key to good exercise is taking your time and pronouncing each of the consonant and vowel sounds accurately. Moving slowly at first, allows your medulla to process and memorize these muscle movements, so you can use them without thinking about them when you need them.

4. Swallow Your Words

The tongue, the teeth, and the lips are not the only vocal articulators that need exercising. There are nine different parts of the articulatory system that shape the way we make words and how our voices sound. In addition, there are eighteen different articulation points (that is, points where an obstruction occurs to produce a particular vocal sound).

Dry swallowing exercises the back of the tongue, the uvula, the soft palate, and stretches areas of the articulatory system often neglected by other vocal exercises.

5. The Radio Announcers Test

I don’t typically prescribe specific tongue exercises, as folks often have different problematic articulations that need exercising. I offer the Radio Announcers Test (A.K.A. One Hen, Two Ducks) mostly out of nostalgia and tradition. It was created by Radio Central New York to test incoming radio announcers speaking skills and later made famous by comedian Jerry Lewis who used the piece in his act.

One hen

Two ducks

Three squawking geese

Four limerick oysters

Five corpulent porpoises

Six pairs of Don Alverzo’s tweezers

Seven thousand Macedonians in full battle array

Eight brass monkeys from the ancient sacred crypts of Egypt

Nine apathetic, sympathetic, diabetic old men on roller skates, with a marked propensity towards procrastination and sloth

Ten lyrical, spherical, diabolical denizens of the deep who all stall around the corner of the quo of the quay of the quivery, all at the same time.

Aside from its nostalgia and tradition, the benefit of this vocal exercise is that it covers a huge array of consonant and vowel sounds. The real test is to say the entire list in one breath without sounding rushed or out of breath. However, it is just as effective as a line by line exercise to really give your mouth a workout.

6. Customize Those Tongue Twisters

We can’t talk vocal warm-up exercises without mentioning tongue twisters. Every actor has their favorites. Betty Botter. Peter Piper. That weird lady who opened an unprofitable business on the beach selling shells. One mistake I often see is actors who practice tongue twisters that they already do well. While being able to recite tongue twisters flawlessly is great fun for everyone involved at social gatherings, in our case, the purpose of the exercise is to improve areas of weakness.

When I was young, I had a speech impediment that made it difficult to get the proper attack on esses. With practice, I was able to strengthen those articulations by practising over and over again in a mirror with tongue twisters that specifically addressed those sounds. (That lady by the seashore sure sold some shells, but I’m dumbfounded how.) In my adult life, I no longer have difficulty with even the most advanced phrases with esses or similar sounds. Cater to your weak spots when it comes to choosing warm-up exercises. Well-rounded articulation is key to clarity and annunciation.

7. Posture

Sit up straight! You heard me!

Good posture is essential to producing a solid, supported sound from your voice. But airflow is not the only thing that gets constricted when we hunch. Proper posture also supports the neck and head, the casing for all of those articulators. Variations in posture, head posture most especially, constrict the vocal cords, restrict the movement of the jaw and make tongue movement more challenging.

Sitting up straight creates an unrestricted flow through the airways, allowing you to produce an even, unconstricted tone with plenty of flexibility for you to move that mandible and tongue with ease.

8. Make a Stand for Good Articulation

Stand up! I know what I just said!

Most hosting and interviews take place in a seated position. For many purposes outside of acting, a seated position is perfectly suitable so long as your maintaining good posture. If you’re still having some difficulty with either phrasing or energy, however, try standing up.

Standing up opens up your body to its full range of motion. It allows for better blood circulation and often the range of movement helps actors and speakers with emphasis and inflection. Better circulation is good for focus, which is often the boost you need to get through those hard-to-speak phrases.

9. Slow it Down

To restate from above, your voice is an instrument. Aside from the voice, my instrument is the bass guitar. When you are learning the bass, or when you are learning a new song, especially one that is challenging to play, it’s important to take it slowly, practice the getting the finger positions right at the base of the fret, make sure that run is solid and not sloppy. Then we gradually bring it up to speed until we can play at tempo.

Our vocal instrument works the same way, relying on muscle memory from methodical practice to do automatically what we practised with intention. Take things slowly. Take them a word at a time, adding a word with each repetition. Take them in bite-size phrases. Practice the stumbles until they can’t go wrong. Then bring the words up to speed gradually, until you can say them without really thinking about them.

10. Know When to Hold Your Tongue

Holding your tongue may seem counter-intuitive to producing audio, but in this case, I mean it quite literally. Try this vocal exercise when nothing else is working, or you’re cold reading a script and just don’t have the opportunity to practice. It’s a method that works for me every time, whether I do it myself or I am directing an actor with a problem phrase. The method? Hold your tongue:

1. Choose a phrase you do have difficulty with. For example, this phrase I often trip over from the Radio Announcer’s Test:
Eight brass monkeys from the ancient sacred crypts of Egypt.

2. Repeat the phrase to feel out where the stumbles seem to be. There’s no need to note specifics. Just be aware of what’s not going right:
Eight brass monkeys fromma anchen sacred crypt sof Egypt.
Eight brass monkey from da ancient sacred crypsof Egypt.
Eight brass monkeys from the ancien sacred cryps of Egyp.

Crap. I’ll never get this right.

3. Stick out your tongue. Grab the tip of your tongue with your thumb and forefinger.

4. While still holding your tongue, repeat the phrase again, about three to five times:
Eighth brath monkeyth from tha anchenth thacred crypth thof Egypth.
Eighth brath monkeyth from tha anchenth thacred crypth thof Egypth.
Eighth brath monkeyth from tha anchenth thacred crypth thof Egypth.

Ugh. My fingerth tathe therrible.

5. Now release your tongue and behold the elocution as you flawlessly execute the phrase:
Eight brass monkeys from the ancient sacred crypts of Egypt.

Vocal Warm-Up Exercises! Tongue-tying It Together (and running out of puns)

I use all of the above methods when approaching difficult phrasing in a script as both an actor and director. On the spot, the hold your tongue method is the most effective and I am forever thankful to Mark Cole for teaching it to me. It does require trust and rapport within your team as standing around holding your tongue is not the most flattering photo opportunity.

Got some go-to vocal warm-up exercises of your own? A favorite tongue twister, perhaps? Let us know by shooting us a tweet. Or better yet, a photo of you doing your mouth exercises using your neighbor’s front window as a mirror.

Finally, did you know we also have a full Voice Training for Podcasters course inside Podcraft Academy? You’ll find many more vocal warm-up exercises in there, as well as loads of other tips and techniques to get you sounding your best. That’s just one of many courses inside the Academy too – and on top of that you’ll find tools, downloadable resources, and can join in on our weekly live Q&A sessions!

We live in a world full of noises. Cars, HVAC systems, neighborhood dogs, lawn mowers and roosters often plague the recordist’s desire for clean sound. In addition to these audible sounds, a number of electrical, telecommunications and utilitary devices can cause electromagnetic interference that affects the consistency and quality of recorded sound.

There are, of course, a number of quick-fix solutions on the market to help improve audio issues. Many of them have extremely varying levels of efficacy. Most of them remove sounds that are desirable, along with unwanted sounds. With that in mind, this audio troubleshooter guide focuses on identifying and preventing audio issues, as well as some tips for the production or post-production phases.

Computer Microphone Not Working?

The only thing worse than bad audio is no audio at all. A common issue for new podcasters is their computer microphone not working. Here, we could be talking about a plug-in USB mic, or the built-in computer mic itself. Recording into a built-in mic is a subject of its own (you don’t need to spend much at all to get a great sounding USB mic) but the bottom line is that you have something that should be picking up your audio, and it isn’t.

The starting point when a computer mic isn’t working is to check the preferences or settings menu in whatever software you’re recording into. This might be a DAW like Audacity or Audition, or it might be remote call recording software like Squadcast or Riverside. You want to make sure that your input or ‘recording device’ is set to the mic you’d like to record with.

If you’re still struggling with a computer microphone not working then head on over to our free online mic test which will help get you properly set up. If computer problems are a regular occurrence for you, too, then check out our guide on the best computers for podcasting and audio production.

Audio Troubleshooting When *All* Recordings Sound Bad

If recordings from other studios, especially music or voice from professional studios sound bad on your system, the most likely culprit is your monitors. As we discussed in An Intro To Studio Monitors, a good set of monitors will have a wide, flat frequency response, and represent your audio with clarity and precision. Manufacturers often weight consumer speakers and headphones to produce what the manufacturer thinks is a more pleasing sound for the listener. This weighting can adversely affect your listening perspective when mixing, and can even make a professional mix sound off. As you’re troubleshooting your audio, try listening on a different set of headphones, or monitors.

Additional considerations may include your room’s acoustics or a need to properly EQ your monitors. However, 90% of the time, a decent set of near field monitors will fix most monitoring issues.

Dropouts during recording or playback

Typically, audio dropouts and glitches like these have a low latency buffer setting for recording or playback as the culprit. Increasing the buffer in your recording software to 512 or higher will reduce dropouts and glitches at a cost of latency, or a delay between the time you speak and you hear the audio in your headphones or monitors.

Related Article

Power Conditioners: How to Once and For All Rid Yourself of Gear Related Noise

A power conditioner regulates voltage output and filters noise like EMI & RFI. Here’s why you might want to add one to your setup.  Find out more »

What does buffer mean? In computer terms, your input-output (I/O) buffer determines the size of the data chunks that your computer’s hard drive reads from and writes to, when recording and playing back audio. A low buffer setting demands more computing cycles from your CPU.

Too low a buffer setting can cause unwanted clicking and stuttering in your audio during recording or playback. Too high, causes more latency (delay) between the time you speak and the time your monitors play back your recorded audio. On most systems, when recording without effects, a setting of 256 creates an indistinguishable delay, but can also cause clicking if your CPU is too slow, or if you are using many tracks or effects at once.

In these instances, you can use a setting of 512 or 1024, at the cost of some latency. As you’re troubleshooting your audio, try different buffer settings to find what’s best for you.

Distortion (Clipping)

If you hear distortion when monitoring mics or are getting clipping in your audio recordings, the most likely culprit is your gain staging. In its simplest form, the solution is to reduce your microphone’s gain (i.e. turn down your microphone). For a deeper dive on this, see our Clipping and Gain Staging guide, as well as How to Set Levels for Recording.

Hiss

Amplified self-noise somewhere in your signal flow causes hiss, most of the time. Every piece of equipment in your audio arsenal produces some hiss from self-noise. Microphones, pre-amps, effects racks and monitors are all likely culprits to check for hiss problems.

Often, proper gain staging will solve many hissing issues, along with some judicious use of gating and noise reduction. However, there are times when a piece of equipment, such as a microphone, can cause a distracting amount of hiss. Here are some options to try to eliminate hiss:

1. If equipped, engage your pre-amp’s pad switch to attenuate (reduce) the hiss before the sound reaches your DAW. Alternatively, you can try using an inline XLR pad such as the Whirlwind IMP Pad or impedance matching adapter.
2. Use a microphone with lower self-noise. For microphone selection basics, refer to A Beginners Guide to Microphone for Voice.
3. Use a lowpass filter set to 12 kHz to reduce high-frequency hiss without adversely affecting vocal frequencies.
4. Use an expander to increase the dynamics between the signal and self-noise. An expander increases your audio signal’s dynamic range. Noise gates are a type of expander.
5. Use noise reduction. Be careful to set reduction to not produce artifacting or reduce the quality of desirable audio.
6. As a last resort, use a noise gate. Keep in mind that hiss may still be present when speaking.

Low Frequency Rumble

Low-frequency rumble is by far the most common problem I tend to hear in podcasts. Some monitors don’t reproduce frequencies under 180 Hz well. So, sometimes this goes unnoticed until you listen on a different system. Those of us who listen with monitors that produce lower frequencies, and especially those of us who listen through systems with a subwoofer, often hear a low-frequency rumble that distracts from the material.

Typically, HVAC systems, vehicular traffic, or computer noise that vibrates through the floor or desk into the microphone, produce low-frequency rumbles. Here are some common solutions:

1. Reduce air conditioning noise or shut off air conditioning and heating systems while recording. Create as silent a recording environment as you can.
2. Use a high pass filter set around 80 to 120 Hz.
3. Use a microphone with a high pass or a limited low-frequency response
4. As a last resort, use noise reduction to eliminate rumble.

Radio Frequency Interference

Cellphones, or a distorted audio signal from a local AM radio station, can come in the form of digital clicking and distortion. Other causes of RF interference are air conditioners, microwave ovens and any electronic device like a router or computer or Bluetooth device that uses a wireless signal. Common solutions include:

1. Ensure all cellular devices are off or not present in the studio when recording.
2. Move routers, computers or other RF devices away from recording equipment
3. Turn off wireless and Bluetooth devices
4. Use an inline RF filter to attenuate signals from AM radio stations and other RF interference

Hum

Your audio equipment can pick up electromagnetic interference from power wiring. This causes one of the most common occurrences in an audio signal: hum. The interference comes in the form of a 60 Hz buzzing sound (50 Hz in Europe). Magnetic interference picked up by audio cables, and ground loops are the two most common causes. When you have two pieces of connected audio equipment attached to separate outlets with an unshared ground, that causes the magnetic interference. While troubleshooting audio, that hum might not be caused by gear, but by the outlets. Here are some methods of prevention:

1. Use balanced audio cables shorter than 10 feet to connect equipment. For more information on cable management, refer to On the Care and Feeding of Cables: Don’t Cross the Streams.
2. Do not use electrical ground adapters to remove a ground. In addition to noise, it presents a potential safety hazard.
3. Connect equipment to same outlet that feeds power strips for your recording equipment.
4. Isolate the outlet used for recording equipment. Use a separate outlet to power lights and other equipment.
5. Use a ground lift or a direct box with ground lift to eliminate hum from ground loop.
6. Check cables for broken shields and leads and replace or repair as necessary.

Related Article

Understanding Audio Cables: Do You Know Your RCA From Your Elbow?

XLR, USB, TRS, RCA… here, we’ll help you identify and understand each type of audio cable, as well as its uses!  Find out more »

How’s Your Audio Troubleshooter Checklist?

Now you have the most common types of interference in your audio signal, and what to do about them. The more you know and understand about audio issues and how to prevent them, the better your recordings can be from the start. This eliminates or reduces the need to use audio filters in post-production, which can reduce the quality of your audio!

Need More Help With Your Podcast?

We’ve hopefully assisted you in working through any audio issues you’ve been having. But there’s a lot more to running a podcast than the sound of the audio itself.

Inside Podcraft Academy we have courses on everything from interviewing to promotion and audience growth. If you’re looking to take your show from decent to excellent, then we’d love to work with you there!

Equalizers are one of the most fundamental tools in an audio professional’s toolbox. It is also one of the most difficult tools to master. It takes time and practice to gain fluidity and virtuosity.

Explaining EQ is a bit like telling someone how to play the piano. The rudiments can be broken down and the mechanics can be taught. However, the application of those skills is much more intuitive and fluid. It develops with time, study, and practice.

What is Audio EQ?

Equalization is pretty straight forward. Equalization simply affects the volume in dB of a specific frequency or range of frequencies. More or less, this is my piano. It’s where a lot of work gets done in the mix, and where simple changes can open up an entire world of sonic possibilities. Or you can set and forget, which is the EQ equivalent of that guy who only knows how to play Home Sweet Home on the piano. Or worse, the guy who plays the first part of Moonlight Sonata in the wrong key.

Come to think of it, I am that guy. Just not when I mix.

EQs are used to boost or cut low, mid and high frequencies in a mix in order to get a more pleasing sound or correct technical flaws in a mix.

How (or Where) Do I Access Audio EQ?

You’ll find EQ options in any DAW (Digital Audio Workstation) you use to record and produce audio. Two popular choices amongst podcasters are Audacity and Adobe Audition.

You’re also likely to find it in gear such as mixers and digital recorders.

EQ-based cleaning and polishing up are also carried out for you automatically, behind the scenes, in ‘Podcast-Maker’ app Alitu. That’s a handy option for folks who don’t have the time or desire to learn the ins and outs of this stuff.

But fear not, if you do, then we’ve got you covered…

Types of EQ

Honestly, there are a lot of EQs out there. They do different things in different ways for different people, because EQ needs to be organic and intuitive to how we work. I’ll stick to the three most common.

3-Band EQ

You know these as Bass, Mid and Treble. 3-band EQ is what’s on many receivers, car stereos, radios and mixing boards. Sometimes they are turnable dials. Other times they are sliders. They pretty much all work the same way.

3-Band EQ allows you to adjust the lows mid and highs, typically at fixed frequencies. Lows are typically around 100 Hz. Mids come in around 1000Hz. Highs are typically set around 10 kHz. Each band (a central frequency) tends to have a broad bandwidth, meaning while the EQ centers around a frequency, it affects a larger range of frequencies.

Some mixers and 3-band EQ Plugins have what’s called a sweepable EQ. Sweepable equalizers allow you to tune in the precise frequency to center on, giving you more control of a mix. I wish all mixers had them. They make live mixing so much easier.

3-Band EQs are great if you need to quickly set frequencies for a microphone mix, but lack precision needed for more detailed or forensic equalization

Graphic Equalizers

These can also be found on many consumer items. Graphic equalizers consist of multiple slide pots that range from 5 to 31 bands. A slide pot (short for slide potentiometer) is the general term for sliding controls like faders that visually show amplitude as up or down. This is why it’s called a Graphic Equalizer; the sliders are a quick visual (or graphical) reference of your mix.

Graphic EQs are great for more detailed mixes, like monitor mixes for live sound, or quickly cleaning up problem frequencies in a track when mixing (eg. reducing plosives). They are the easy to understand, but they have their limitations.

Parametric EQs

This is the EQ for us control freaks who want to dial in on the exact frequency of that annoying shrill sound and get rid of it. Note that this will not get rid of sounds that are coming from inside your studio. So using Parametric or any EQ to block the shrill sound of the director’s overdramatic friend who isn’t even in this show is right out. That’s what headphones are for.

Parametric EQs are precise and complex. They allow you to set the frequencies to be boost or cut, the bandwidth that is affected by the boost or cut, and the amount of boost or cut. The bandwidth is determined by the Q, which is the center frequency divided by the bandwidth. A cut to a band with a low-Q affects more frequencies. A cut to a high-Q will cut more precisely with a tighter peak or dip. Less frequencies are affected.

Parametric EQs are good for really tight, precise EQing, and are used in forensic audio to find and remove details in order to analyze audio evidence.

Understanding Audio EQ

Graphic and parametric EQs are laid out much like a piano. The pitches move left to right from low to high. Emphasis tends to come from the left or lows. Detail tends to come from the right or highs. Most of the magic – the melody – happens in the middle.

EQ is broken down by bands. Each band corresponds to a specific frequency, either preset or selected by the operator. Each frequency covers a specific bandwidth. In the case of a 31-Band graphic equalizer, each band represents a third of an octave.

Octave

Understanding octaves is very helpful in understanding the nuances of EQ. If you are familiar with octaves in music, the principle is exactly the same, except we talk about it in terms of frequency instead of pitch.

Here’s how those are related:

In concert music, everyone is tuned to concert A. Concert A vibrates at a frequency of 440 Hz, roughly halfway between the 400 and 500 hz bands on a Graphic Equalizer. An octave up from concert A, A5, resonates at exactly twice the frequency of Concert A, 880 Hz, roughly between 800 and 1000Hz. Octaves in EQ work exactly the same. 500 Hz is one octave below 1000 kHz, and one octave above 250 Hz.

The Basics

The human voice tends to center around 800-1000 Hz. However male voices dip as low as 87 Hz and female voices can reach as high at 1175 hz. Harmonics of the human voice can reach as high as 12 kHz. In general, for a vocal mix, you can typically cut anything below 80 Hz (or even 120 Hz for less bassy-voiced types) and anything over 12.5 kHz can go. These are known as high-pass and low-pass, respectively.

Highpass and Lowpass

A highpass filter is used to roll off frequencies below a set frequency. These are often set at 80 Hz or 120 Hz, to allow for the human voice, but cut away the rumble from cars and background machinery, or to make room in a mix for other sounds.

A lowpass filter is used to roll off frequencies above a set frequency, typically around 10 Khz, allowing voice harmonics and sibilance while cutting away hiss.

These often get confused. The easiest way to keep this straight is to remember that a highpass filter allows highs to pass and a lowpass filter allows lows to pass.

Adding to the confusion, these are also sometimes known as Low-cut and high-cut filters. Remembering them still applies. A low-cut filter will cut the lows (and allow the highs to pass). A high-cut filter will cut the highs (and allow the lows to pass). Highpass is the same as Low-cut. Lowpass is the same as high-cut.

A Few Important Frequencies

It takes years to get all the frequencies down, and even then I haven’t mastered them all yet. Here’s of a few important ones:

• Male Voices – 80-500 Hz, Full around 100-200 Hz
• Female Voices 175-1180 Hz, Full around 200-400 Hz
• Presence can be adjusted at 5 kHz
• Sibilance is between 2.5 and 10 kHz

Final Thoughts on Audio EQ

When used correctly, EQ can open up a mix. However, it takes time, patience, ear training and feedback to understand and appreciate the nuances. So push those sliders gently. Like you want to play the Moonlight Sonata.

Honing your EQ skills is a highly worthwhile venture if you run an audio drama or highly-produced podcast. It’s worth mentioning, though, that many get into podcasting because they’ve got something to say, and just want to get their message out without having to become an audio engineer.

If you fall into the latter camp, be sure to check out Alitu. With Alitu, you can record your audio (either remote calls or solo segments), OR, load in audio recorded elsewhere, and it’ll do all of the EQ, processing, cleaning up, and volume levelling for you. Simple!

Don’t Cross Audio Cables

This is a myth. Crossing audio cables will not cause any undue electrical or magnetic interference. The only potential problem in crossing audio cables is the mess when those suckers get wound around each other via whatever strange force causes instant cable entanglement.

Check out our guide to studio cable management if you’re looking to keep things a little tidier. You might also be interested in our best wireless mics roundup, if you’d rather cut the cords completely.

Crossing Power Cables With Audio Cables

This one is not a myth, but it’s also not as big of a deal as long as you use balanced cables. For the most part, this bit of advice applies more to stagehands and musicians who use unbalanced (TS) instrument cables to plug into amplifiers.

Balanced cables, because of the way they are designed, will reject most non-signal noise. They do so by inverting the phase of the signal in one of the lines. They will then electronically isolate any signal that moves along the ground shield by removing any signal that does not travel via both phases.

Because unbalanced cables lack a second phase, any interference travelling along the only live phase are introduced into the system with no way to compensate for it. When power cables cross an unbalanced cable, the power inside the power cable acts as an electromagnet, and creates interference along any adjoining or parallel cables.

For this reason, it is best practice to run power cables separately from unbalanced audio cables. If you must cross cables, doing so at a 90 degree (right) angle reduces the amount of cable crossing each other and reduce the chances and the amount of electromagnetic interference.

Good Cable Practices

In most studio situations, cables are typically laid out in as short a run as possible between the microphone and the jack. Because the cables are typically short and balanced, interference problems are not as likely to occur as they would in live stage applications.

In the home studio, ensuring balanced cables shorter than 10 feet are used will eliminate most interference. If you must cross an audio cable over a power cable, ensure the two cables are at a 90-degree angle to one another to prevent magnetic and RF interference.

Key Takeaways & Resources

Here’s a quick reference on cable crossing:

Audio cables crossing audio cables = No interference
Balanced audio cables crossing power cables = Little to no interference
Unbalanced audio cables crossing power lines = Potential interference, typically a 60Hz (50Hz, UK and EU) hum.
Solution: Run power cables away from unbalanced audio cables. If necessary, cross cables at a 90-degree angle.

We also have a handy guide to audio cables that breaks down all the jargon, from balanced and unbalanced, to XLR, USB, and RCA.

If you’re drowning in cables, you might fancy embarking on a studio cable management project. Or, you might opt for a wireless setup to remove the problem altogether.

Still need a hand with your audio gear? Or, with any other aspect of podcasting, for that matter? Join us in Podcraft Academy for weekly live Q&A sessions, extensive video tutorials, downloadable resources, checklists, and templates!

• They might not be the most glamorous part of your recording setup – but they are a vital part of it.
• Some folks use USB (digital) mics, whilst others use XLR (analog).
• Other types of audio cables range from RCA, to phone cable and speaker wire.
• In this article, we talk Balanced Vs Unbalanced, Jacks Vs Plugs, and the difference between TS, TRS, and TRRS.
• Read on for our full guide on choosing the right audio cables for your setup…

Audio cables! They plug your stuff together. What’s more to know? Right? As unsexy and unfulfilling as cables are, they’re probably the most common piece of equipment type in your studio.

There are all kind of different cables. You’ve got power cables, mic cables, speaker cables and instrument cables. Lightpipe and digital coaxial cables. And once you realize the volume and scope of what cables do in your everyday workflow, you suddenly realize their grand importance.

But they’re still pretty boring when compared to things like mics and digital recorders.

However, given some basic tips, you (like I) can think about your cables as little as necessary while still giving them the respect they deserve. Here, we’ll look at cables commonly used in podcasting setups, with particular attention to microphone and monitor cables.

When it comes to untangling them, you’re on your own. But here are a few helpful hints to help you on your way to properly forgetting about cables, so I can forget about them, too.

Related Article

Tips for Podcasting With Unreliable Electricity

Podcasting from somewhere that has unreliable electricity? Here are a few quick tips for getting your work done. Find out more »

Power Cables – What You Should Know

There are three very important things to understand about power cables and your audio setup. A few quick checks before you hit record can save you a lot of time and hassle in the post-production and editing phase:

1. Don’t Cross the Streams

That is, don’t let electrical cables cross your audio cables. Electrical cables can produce electromagnetic interference that when crossing an audio cable produce a low pitched tone or buss. This is the dreaded 60Hz hum (50Hz in Europe).

2. All AC Power Cables Should Be Grounded

Most of your equipment will already be properly grounded. It’s important to maintain proper grounding by not using adapters to adapt to improper and ungrounded extension cords. Improper grounding produces unwanted noise in the system and we want to record clean audio with as little unwanted noise as possible.

3. Ground to the Same Ground

Ground loops can be nasty, both to your audio signal and in terms of finding the source of the unwanted sound assassin. A ground loop is typically caused by plugging one piece of grounded audio equipment into a power strip powered by one AC outlet, plugging another into a powerstrip powered by another outlet and then plugging the two pieces of equipment together via an audio cable. The ground signal (that 60Hz/50hz hum!) travels along the shield in the cable and causes a ground loop. To avoid this, ensure all equipment is plugged into power strips on the same outlet.

What About USB?

I want to talk briefly about USB. I often get questions about USB microphones and USB audio monitors (AKA speakers) versus XLR or other options. Quite simply, the decision between USB and analog connections is largely up to you, your team or any producers and engineers you might work with. In general, you’ll want to consider your budget, scope and workflow to determine what works best for you.

In my studio, analog (XLR) microphones are a must. I use microphones in the field and on the go in a number of different environments and scenarios. I use them to microphone fruit for sound design purposes. I purposefully drop them in water. In the studio, I am apt to record many voice talents at once through a single device.

If you need your arrangement to be flexible and mobile, require long cable runs, or want to use multiple mics, you’re likely going to want to look at analog solutions.

Should I Use a USB Mic?

If you’re a one-voice, one mic operation (a voice actor or single podcast host, for example), a USB solution may suit your needs and workflow well. If that’s the case, check out our guide to the best USB mics on the market right now.

If you’re a one-person-one-recorder on-the-go operation, a USB microphone and a USB to micro USB adapter can often be used in conjunction with your smartphone and produce excellent results.

So which is better? It’s layered, and arguable. Pound-for-pound, the Rode Procaster and Rode Podcaster perform equally well. However, a cheap consumer USB microphone can be the audio equivalent to a Barbie microphone. USB microphones also have a built-in microphone preamp (mic pre) that will affect the sound differently than the preamps in your recording setup. Overall, however, there isn’t much of a noticeable difference between USB and XLR versions of the same microphone.

For performance, flexibility and adaptability, nothing beats an XLR microphone. If you’re going to be working with others or alternating between live a studio situations, XLRs are standard. Most professional equipment is fitted with XLR inputs and XLR is easily used in TS and TRS (more on these soon!) jacks using a simple adapter.

If you’re a podcaster who wants to use an XLR mic (or two) but loves the simplicity of USB, then you might want to look into getting yourself a USB audio interface.

Audio Cable Connections: Jack vs. Plug

The most basic terms to understand when it comes to audio cables refer to the cable and equipment connectors and how they connect. Those are Jack and Plug.

Plug refers to the end of the cable that inserts into your equipment, typically a male end of an RCA or Phone jack.

The simplest way to remember this is that a plug is inserted into a jack. Plugs tend to be male. Jacks tend to be female.

How Cables Cable

The principles of operation are fairly simple. The electrical signal from the audio source travels along a conductor inside the cable and returns along a second conduit or shield. Think of like in a basic electrical circuit because it is a basic electrical circuit.

Balanced vs. Unbalanced Audio Cables

The primary difference between balanced and unbalanced cables is that balanced cables return the electrical signal along a secondary connector instead of carrying it along the cable shield where ground noise and electromagnetic interference can cause hum in the signal.

The process works similar to a ground in an electrical outlet, isolating the audio signal from electromagnetic interference and ground current. In general, it is always advisable to use balanced cables. However, heavy-gauge unbalanced cables less than ten feet long will provide adequate hum rejection, if necessary.

So, why do unbalanced cables exist at all?

A few reasons. In the studio, unbalanced cables are used as instrument cables to plug guitars, basses and keyboards into amplifiers. Instrument cables also cost less and provide adequate hum rejection for most home recording and home stereo situations. It is also far simpler to run unbalanced cable for vehicle and household audio needs, as an added conductor increase cable width. In short, they are primarily for consumer use, or for other applications where professional sound quality isn’t a factor.

Gauge

Gauge refers to the thickness of the wire used in a cable. Gauge affects sound through impedance (or resistance). Think of it like a PVC pipe. The wider the PVC pipe, the more water can travel through the pipe at once. The same is true of electricity and wire gauge: the thicker the copper, the more audio signal can travel through at once.

The most confusing thing about gauge is how the numbering works. Counterintuitively, a smaller gauge refers to a thicker wire and therefore less impedance. In general, heavy gauge wire between 12 and 16 gauge is suitable for most audio cables (remembering the 12-gauge is thicker than 16-gauge).

In most applications, gauge is not something you’ll have to think about often, but it comes up from time to time in cheaper-made cables, especially unbalanced.

Types of Analog Audio Cable

For the most part, analog audio cables break down into four different types:

1. XLR
2. Phone Cables
3. RCA
4. Speaker Wire

Speaker Wire

Speaker wire, in general, is used for consumer audio and live audio applications (though I have certainly been known to use it in my studio from time to time). In general Speaker wire is unbalanced and should be avoided for any other purpose than listening to music.

RCA

RCA cable is used in studio applications to connect CD, tape and record equipment and various consumer-grade equipment into mixing boards and recording devices. RCA is also used for S/PDIF (Sony/Philips Digital Interface Format) digital audio interfaces. When used as an analog source, however, they are unbalanced and should be avoided whenever possible. In a pinch, a USB-based solution will likely provide better sound quality than its RCA equivalent without potential for line noise or hum.

Phone Cable

Phone cable is by far the most common cable in both studio and consumer audio applications.

Pull out your trusty pair of earbuds and this is the plug you’ll see on the end of the cable.

You can easily find out the way it works by counting the number of rings on it.

1 Ring = TS (Tip-Sleeve) or various “mono” plugs

TS cables are single conductor, unbalanced cables.

Applications: Patch cords, instrument cables, unbalanced microphones.

2 Rings = TRS (Tip-Ring-Sleeve) or various “stereo” plugs

TRS cables are dual conductor, unbalanced cables.

Applications: Balanced microphone input, balanced monitor cables, unbalanced stereo input, stereo headphones.

3 Rings = TRRS (Tip-Ring-Ring-Sleeve)

TRRS cables are three conductor wires, unbalanced cables.

Applications: Typically used for microphone/headphone inputs for cell phones, tablets and other small electronics.

XLR Audio Cables

If you’re not using a USB mic, it’s likely you’re using an XLR model instead.

XLR is pretty much the standard in microphone applications as well as professional audio equipment for use in live and studio sound. It consists of a pin 1 ground connected to the cables shield and two conductors carrying the balanced audio signal.

If you’re looking for a technical definition, XLR is a 3-pin professional audio standard connection type for balanced microphones and balanced recording equipment.

Common XLR mics in podcasting are the Rode Procaster, the Shure SM58, and the Samson Q2U (which also works as a USB mic).

Audio Cables: Key Takeaways

So, there you have it. Cables! To wrap up, here’s our advice:

• Solo or online interview podcasters can get by just fine with a USB mic setup.
• Want to run a couple of XLR mics into your computer? Consider getting a USB audio interface.
• To record multiple XLR mics free from a computer, a digital recorder is a great option.

Remember to check out our full podcast equipment guide for everything you need to record, produce, and publish a podcast. And we run weekly live Q&A sessions in Podcraft Academy if you’d like the added benefits of ongoing support, advice, and guidance!

As my body grew, my voice grew more resonant.  And I found that the standard ball microphone couldn’t capture my natural vocal tone anymore.  I could use the proximity trick to add more bass to my voice, but it was artificial and fell short of my natural tone.

Years later, in college, Dan Wood introduced me to large diaphragm microphones, and I found the sound that I was missing.  And it was all related to voice placement.

It’s Not About That Bass! (But It Is! (But it Isn’t!))

Though it never hurts to use one, a large dynamic microphone isn’t necessary for everyone. But the register at which you speak or sing isn’t the only determining factor.  It depends heavily on your vocal characteristics and vocal placement.  

There are a huge number of factors in play when it comes to your vocal tone, and each voice has a unique flavor.  Body frame, regional dialect, anxiety, placement in the chest, throat, head, and nose, mouth, shape, and articulation all change the characteristics of a person’s natural voice. Here’s a deeper dive on mic technique, for some future reading material.

Vocalists and actors are trained to use their chest voice more, and over the years will often develop what is described as a “fuller voice.”  These chest tones are often not captured by smaller diaphragm microphones, which don’t have the same sensitivity.  It’s not about treble and bass.  Male or female.  It’s about low-frequency tones that resonate in the chest and whether that texture is associated with your voice.

The PreSonus PD70 Dynamic Broadcast Microphone

So how does the PreSonus PD70 stack up?  For starters, at around $130, it’s more than half the price of its standard studio equivalent. Cost was a huge factor in why I waited so long to purchase a large-diaphragm dynamic.  The mic has a good solid feel, deceptively heavy coming out of the box, so it’s not just a shell with cheap components.  And the sound?

The PD70 reproduces the voice nicely while capturing the warmth of the chest voice that gives the voice some of its pleasant characteristics. It’s low noise, and has excellent off-sides rejection, meaning the microphone captures more of your voice and less of the room you’re recording in.  

What You’ll Need to Run the PreSonus PD70

It’s an XLR mic so you’ll need something to plug it into. Typically this could be a digital recorder or a USB audio interface (like the PreSonus AudioBox USB 96!). If you don’t own (or want) additional gear, check out the PreSonus Revelator Dynamic, which is similar to the PD70, but in USB form.

You’ll also need to support the mic on a boom arm or mic stand. You may find bundle deals with a boom arm included, but if not, it won’t cost the earth to pick one up.

Buy the PreSonus PD70, brand new, on Amazon – FYI, our link here is an affiliate and we may earn a commission should you choose to purchase through it – at no extra cost to yourself!

That Broadcast Sound!

Podcasting, like all crafts, is influenced by the disciplines that lent to their rise.  With its roots in talk radio, podcasters often try to capture that warm resonant broadcast sound.  The core of that broadcast sound is the use of large dynamic microphones and a lot (A LOT!) of compression.  Podcasters have become more nuanced with compression, but the use of large-diaphragm dynamic microphones remains a constant.  

With a tame 4:1 compression ratio added to the PD70, the warm chest tones come forward, and even without further noise processing, the microphone already gets a clean responsive broadcast sound effortlessly.

The PreSonus PD70: An Oustanding Mic at a Stellar Price!

If the cost investment was holding you back from favoring a large-diaphragm dynamic microphone, then this is the model you’ve been waiting for.  The Presonus PD70 is a beautiful mic with great frequency response and sensitivity, capturing the chest tones and that broadcast sound with low noise and terrific clarity. 

If you’re still looking to shop around, though, then check out our reviews of the Stellar X2, Revelator Dynamic, and PreSonus PX-1 mics!

Need More Help?

Choosing your mic is just one small piece in the wider podcasting puzzle. For courses on everything from editing and interviewing, to monetisation and promotion – along with weekly live Q&A sessions – be sure to join us in Podcraft Academy.