Uploading a video to YouTube is straightforward, but making anyone watch or care about that video (let alone your channel) has more challenges.

The obvious one is that your content needs to be focused, useful, or interesting. But even good visual content can be hamstrung by two essential technical aspects: audio and lighting.

Most smartphones still have limitations on this front. So, if you’re serious about video production, you can do worse than to boost your setup with some external gear. The iVlogger-PRO from MOVO is designed exactly with that in mind.

So, at around $130, is it worth it?

Before we dive in, a quick heads up that we received this unit free of charge for review purposes. We also use affiliate links, which help support all of our free content. Rest easy, though, that this never prevents us from giving our honest opinions!

Now, on with that review…

MOVO iVlogger-PRO

A first glance at the iVlogger-PRO shows a smartphone mounted on a tripod with a light and microphone attached. There you go, audio and lighting issues solved in one stroke. Good luck with your next video!

Of course, it would be a short and unsatisfactory review if there wasn’t more to say about the kit. And fortunately, there is. Let’s dig into the components a little deeper.

The Movo VXR10 Shotgun Microphone

Starting with the audio, then, the VXR10 is a handy little finger-sized shotgun mic.

Shotgun mics are built to hone in on whatever sound source you point them towards. They also typically do a good job of rejecting all the unwanted sounds around them.

As you can imagine, this comes in handy when recording videos in busy or noisy environments. A shotgun mic can help record your voice crisply and clearly, without having to film the insides of your nostrils.

The VXR10 has a Cardioid polar pattern. Polar patterns determine where a microphone focuses on to “hear” sound. Many shotgun mics have a Supercardioid or Hypercardioid polar pattern, making them ultra-directional. With its more typical Cardioid pattern, though, the VXR10 seems to rely on its physical tube-like design to achieve this.

As a standalone buy, the VXR10 costs about $40, so about 30% of the total cost of the iVlogger-PRO.

The mic can also be secured in its own shock mount (included) to help minimise unwanted noise from movement on or around the rig. I found this very rigid and tricky to pop the mic in. I don’t fancy trying to get it out again in a hurry.

Of course, the most important factor in any mic is its sound quality. I’m definitely impressed by it; it’s a big step up from any default smartphone mic I’ve heard.

With that said, it’s extremely sensitive to plosives. MOVO includes two windscreens (foam and furry) in the box, but even with those, you can still pop it if you get a wee bit too close, so be aware.

Another potential issue is clipping or peaking. This isn’t necessarily the mic’s fault, but more to do with lack of default gain controls on most smartphones.

If you’re too close and too loud (or sometimes even just too loud), the audio can distort, and there’s no way to actively monitor as you record without the aid of additional equipment or apps.

Rechargeable RGB LED Light

I can ramble all day about mics, but I won’t outstay my welcome on lighting. Especially as I’ve just accidentally looked directly into it and I am struggling to see my keyboard.

The LED light is rechargeable via the provided USB-A to USB-C cable. It’s adjustable from 9000K to 2500K (Kelvin), meaning the light can vary from a very cool (blue-toned) colour temperature to a warm (yellow/orange-toned) colour temperature.

The light can also be adjusted from 0 degrees to 359, which, I’m reasonably confident, has to do with controlling the direction of the lighting. Here’s me toggling through the settings.

I must admit, I struggled a bit with the light during my testing. To be fair to MOVO, this probably has more to do with my own lack of knowledge and experience with lighting, combined with my exceptional levels of colour blindness.

I know (at least I think I do) that video lighting isn’t intended to be your sole lighting source, and certainly not to act as a “torch”, but all of MOVO’s promotional photos for the iVlogger-PRO were taken under a flawless sunny sky. I’m not criticising; I’m just envious.

Bringing It All Together

The MOVO iVlogger-PRO comes with a variety of connectors and adapters:

• A 3.5mm TRS cable for DSLRs, video cameras, and digital recorders.
• A 3.5mm TRRS cable for smartphones, tablets, and computers.
• A 3.5mm TRS to USB-C cable for Android phones.
• A 3.5mm TRS to Lightning adapter for iPhones.
• A USB-A to USB-C cable for charging the LED light.

And just like Benny in Total Recall, trying to operate a smartphone, mic, and light all at once will make you wish you had three hands. Well, “get ready for a surprise” because there are plenty of mounting options inside the box.

There’s a tripod with an extension pole and handgrip options. The rotating ball head allows you to adjust and point your kit in any direction, and there are even a couple of wee spirit levels on the phone mount to cater to your OCD.

Atop the phone mount, there’s a shoe mount extender to secure your light and mic, all ready to record. I’ll see you at the party, Vlogger!

Bluetooth Remote Control

Another feature worth briefly mentioning is the Bluetooth remote control. You can pair this up to your phone (via Bluetooth, would you believe!?) and hit record when you’re ready and in position. No, no more Total Recall references, sorry. Just plain old facts.

Travel Case

Now that I think of it, we could reference Total Recall again. Remember that scene where Quaid is running about with a suitcase that turns out to contain a video of himself telling him that he’s actually someone else?

Well, the MOVO iVlogger-PRO travel case is nothing like that, but it is an excellent, robust, and well-made piece of gear luggage. There are a lot of parts, pieces, and cables in this kit, but you’ll never struggle to organise or transport them.

Summary: MOVO iVlogger-PRO Review

With the caveat that the iVlogger-PRO is outside the scope of my typical audio-focused reviews, this seems to be a handy and quality box of tricks.

I’m impressed by the mic’s sound quality, though you do need to be wary of plosives or peaking. The shock mount is a challenge, and I don’t fancy trying to remove the mic from it unless I absolutely have to.

The light seems decent, but I’d be a fraud if I tried to offer any expert option on this front. I struggled to find a setting I was truly confident was “right”, but that’s likely a combination of lack of experience and being hopelessly colourblind.

The tripod, boom arm, and handles offer an almost infinite array of setup options, so whether you’re facing the camera, filming an event, or demonstrating something with your hands, you’ll never be positionally stuck.

The component parts all seem robust and well-made, and the carry case ensures you won’t lose anything, even if you record on the go.

Would buying similar kit separately save you any money? It’s possible, but surely not to any significant level. And anything you did save, you’ve probably given back in time and convenience, too.

So, if you’re thinking of adding a video element to your podcast and want to use your phone, the MOVO iVlogger-PRO is definitely worth your consideration. Godspeed, and may your ‘like bell’ be well smashed.

According to our 2024 podcast gear survey, 36% of podcasters use a boom arm.

So what makes them so popular? And should you be using one in your own setup?

Why Use a Boom Arm?

Boom arms are convenient and flexible. They help keep your podcasting space tidy, too.

A boom arm typically attaches to your desk with a small clamp grip, meaning its desk surface space is almost nil.

You can swivel the thing around, adjust its height and direction, and generally play around until you find your optimal recording position.

With a boom arm, you don’t need to be stuck in the same position for the duration of a recording session. This is a far cry from the static (and often hunched) nature of using a desk stand.

Boom arms can also help minimise the impact of shock-related noise reaching your microphone. Typical examples are typing on a keyboard or accidentally hitting or knocking your desk.

Our podcast boom arms roundup uses affiliate links to help support all our free content. But don’t worry, affiliates never cloud or judgement or prevent us from giving our honest opinions!

Best Microphone Boom Arms for Podcasting

Like any other piece of podcasting gear, boom arm options are plentiful and vary in price and quality.

We’ve used many different models in our studio over the years. If you’re looking to buy a microphone boom arm, here are a few options.

Neewer NW-35: A Budget Podcast Boom Arm

Spending big won’t automatically make your content sound great, and if you’re new to podcasting, you’re better off starting (and spending) small.

The Neewer NW-35 metal suspension boom scissor arm is a great option if you’re looking to buy a boom arm that’s cheap, but doesn’t feel cheap. In some instances, it even comes with a pop filter and shock mount, too.

• Price: $20
• Thread: 3/8″ & 5/8″
• Max Weight: 3.3lbs/1.5kg

We bought a couple for our studio many years ago, and they’re still going strong!

IXTech Lizard Pro: Strong Podcast Boom Arm

IXTech’s Lizard boom arm is a sleek, low-profile microphone boom arm capable of supporting a lot of weight.

It is a highly adjustable boom arm that can swivel 360 degrees.

• Price: $80
• Thread: 3/8″ & 5/8″
• Max Weight: 4.4lbs/2kg

The Lizard also has an integrated cable management system to help keep your setup tidy. This also means you don’t need to worry about loose cables knocking the arm during your recording sessions.

Read our full review of the IXTech Lizard boom arm for more details.

Rode PSA1 & PSA1+: Premium Podcast Boom Arms

Rode’s PSA1 has been the premium podcasting boom arm option for many years, and there’s now an upgraded PSA1+ model, too.

As you’d expect, the PSA1+ has a slightly higher cost and specs, adding 100 grams to its max weight and a couple of inches to its reach (along with about $30).

The PSA1+ also has an improved integrated cable management system and enhanced noise reduction due to rubber contact points on both the arm and the desk clamp.

With that all said, the original PSA1 remains a premium podcast microphone boom arm option, as you’ll see in our full Rode PSA1 review.

Rode PSA1

• Price: $100
• Thread: 3/8″ & 5/8″
• Max Weight: 2.4lbs/1.1kg

Rode PSA1+

• Price: $130
• Thread: 3/8″ & 5/8″
• Max Weight: 2.6lbs/1.2kg

Attaching Mics to Boom Arms

Microphones connect to boom arms using standard threaded mounts in either 3/8″ or 5/8″ sizes.

No matter what mic you’re using, you’ll almost certainly find a way to screw it onto a boom arm using one of those thread sizes.

Adapters also allow compatibility between the two sizes, making it easy to connect microphones and boom arms regardless of thread type.

To attach, simply screw the microphone (or its adapter) onto the boom arm, securing it tightly.

Shock mounts or mic clips can also be added to further reduce noise from handling or movement.

It’s worth adding that if you’re using a mic that comes on its own desk stand (like the Blue Yeti), you’re better off removing it before mounting on a boom arm.

Does Mic Weight Matter?

Most mics are nowhere near heavy enough to trouble any of the podcast boom arms mentioned here. The Shure SM7B is on the heavier end at 0.77kg, the Blue Yeti is 0.55kg without its stand, and the Samson Q2U is only 0.32kg.

But if you plan on spending $10,000 on a Telefunken U47, be warned that they weight in at 1.6kg. The Lizard boom arm will support one of them – if you can afford the extra $80.

Summary: Best Microphone Boom Arms for Podcasting

A podcast boom arm can make you feel more professional, which can lead to more confidence behind the mic. But there are more immediate practical benefits, such as increased flexibility, more desk space, and less chance of unwanted noise in your audio.

At less than $20, the Neewer boom arm is a low-cost on-ramp for any podcaster who wants to add a boom arm to their setup. It may be cheap, but it won’t fall apart on you after a couple of recording sessions.

Paying $100-$130 for the PSA1 or PSA1+ is a chunky investment. These are excellent boom arms, but I wouldn’t spend that much until you’re certain you’ll stick at this podcasting caper.

For me, the IXTech Lizard is a brilliant microphone boom arm upgrade option; it’s a serious and quality competitor to the PSA1 range with the added bonus of being cheaper. If you plan on spending $10,000 on a Telefunken U47, you won’t even need to splash out on a new boom arm to support it

If you need more help in putting together or setting up your podcast equipment, be sure to check out The Podcraft Academy. In there, you’ll find courses, downloadable checklists, accountability and feedback tools, and we run weekly live Q&A sessions in there, too!

Floor stands have their benefits, but space-saving definitely isn’t one of them. And as I was now mostly recording non-fiction conversations for Podcraft, I decided to set up an old boom arm instead. It was much more convenient, and I felt a bit daft for leaving it so long.

But the old cheap boom arm had its downsides. It still felt “in the way” during recording sessions, had a habit of slowly drooping, and when my XLR and headphone cables knocked against it, the noise inevitably crept into my audio.

Whether by sheer coincidence or psychic powers, a nice chap from IXTECH reached out to point me toward their wares. I noticed they had a low-profile boom arm called the Lizard Pro, and I was intrigued by this reptilian rig.

This Lizard Pro boom arm review contains some affiliate links. We may earn a small commission should you choose to buy through them, and this goes towards supporting all of our free content!

The IXTECH Lizard Pro Boom Arm

Most podcasters are deliberate about their mic choice, whilst other supporting cast gear falls into the “any old will do” category. This typically means pop filters, XLR cables, and, yes, boom arms.

Pop filters are on one end of the scale (you can definitely scrimp on them), and cables at the other (you really shouldn’t scrimp on them), but boom arms fall somewhere in the middle.

The Lizard costs about $80, meaning you could get about ten ultra-budget boom arms for the same cost. So, our cold-blooded companion needs to justify its place in your setup if you’re going to fork out the cash. Let’s learn some facts and specs:

• Horizontal Reach: Extends up to 28 inches (710 mm), allowing flexible positioning.
• Vertical Rotation: Offers a range of motion from +90° to -35°, enabling easy angle adjustments.
• Horizontal Rotation: You can swivel the boom arm 360° to face any direction.
• Cable Channel: Includes a sliding cover to neatly hide cables, ensuring a tidy setup.
• Ball Head: Adjustable head for precise microphone positioning, compatible with 3/8″ – 5/8″ adapters.
• Padded Clamp: Provides adjustable thickness to securely attach to surfaces of varying dimensions, supporting a range from 0.4 to 2.2 inches (1-5.5 cm).
• Detachable Riser: An extension piece that adds 5.9 inches (150 mm) to the boom arm, usable on both the top and bottom sections.
• Max Weight Capacity: 4.4 lbs (approximately 2kg)
• Dimensions:
  • Arm length: 11.7 inches (29.7 cm)
  • Clamp height: 8.5 inches (21.7 cm)

So, there is no shortage of features that the I-XTECH marketing team wanted to highlight. Most of them fall under the “positioning and adjustability” bracket, but I want to start with the Lizard’s cable management capabilities.

Cable Management

You’ll have at least one cable running into your mic (XLR or USB), and if it’s a USB mic, you’ll likely have a headphone cable plugged in there, too.

With my cheap boom arm, the cables running into my mic constantly knocked against it, and those sounds were picked up in the audio.

The Lizard’s simple but effective cable channels provide a space to securely house your cables, solving that problem quickly and easily.

Look & Feel

The Lizard boom arm looks and feels like a premium piece of podcasting kit. It’s sleek, weighty, and durable.

With its maximum weight capacity of 4.4 lbs/2kg, the Lizard Pro boom arm could theoretically support two Shure SM7Bs, three Blue Yetis, or five Samson Q2Us.

The Lizard could also take the strain of a bag of flour, a large watermelon, or a very small dog. But you’d have some explaining to do if anyone walked in.

Positioning & Adjustability

Most boom arms feel a bit like they’re in the way, especially if you’re not using them. The Lizard’s low profile and seemingly limitless flexibility mean that’s never an issue.

If you have a standing desk workstation or converter, you’ll probably need to sit down to record podcasts. But, with the Lizard Pro boom arm, you can easily raise your mic to mouth level even if you’re on the tall side.

On the flip side, you can position your mic below your monitor, and its long low reach means you could even attach it to someone else’s desk and pull it over to mouth level. I’m not sure how you might justify or explain that to them, of course, especially if there’s a large watermelon attached to it.

IXTECH’s Dynamic Microphone

You can mount almost any mic using a 3/8″ or 5/8″ adapter, and the Lizard Pro boom arm is compatible with both. Its ball head gives you (even more) intricate control over the positioning of that mic, too.

IXTECH kindly sent me one of their mics alongside the Lizard Pro. “Lizard” may be a pretty unique and memorable moniker. By contrast, their dynamic microphone is the wonderfully named IXTECH Dynamic Microphone.

There isn’t a whole lot to say about the mic, with little in the way of hype or specs available. It’s almost as if it’s shy. Here are the few details I have:

• Costs about £50 or $70.
• Works in both USB and XLR form.
• Has a Cardioid polar pattern (designed for solo use).
• And, in case you hadn’t clicked, it’s a Dynamic mic.

It sounds pretty decent, especially at the price point. There isn’t much more to say, really. Except maybe that they should consider renaming it.

Summary: The Lizard Pro Boom Arm by IXTECH

Whether you mount your mic on a desk stand, floor stand, or budget boom arm, the Lizard Pro can level up your recording rig. It’s very easy to keep out of the way and can be extended into almost any position once you’re ready to record.

I also love the simple but effective cable management—I no longer have to hold onto cables to prevent them from knocking against my old boom arm and affecting the audio.

The Lizard Pro boom arm is great value for what you get. At £55/$70 it isn’t bank-breaking stuff, especially when you’re talking about $130 for the Rode PSA1.

That said, $70 is still a significant investment, especially if you’re just starting out. If you’ve only just launched or are still in the planning stages, keep things simple and low-cost in those early days. But once you get a few episodes under your belt and are confident you’ll stick at it, the Lizard is definitely a safe pair of hands (claws!? Do lizards have claws, or just wee lizard hands?) to hold your mic!

Check out our Podcast Equipment section for a full range of options and opinions on mics, interfaces, recorders, and more!

You can read our full Blue Yeti review for the deep dive, but let’s cover the highlights here.

On the plus side, it can be a decent-sounding mic if used correctly. It also comes with everything you need to get going, quickly – the Yeti is already mounted on its own stand, so you can use it right out of the box. These factors have helped the Yeti maintain its position as the most popular podcasting mic throughout most of the medium’s history.

But, on the negative, the Blue Yeti’s short stand makes for a less-than-ideal recording position, and its sensitive capsules pick up pops like no-one’s business.

Luckily, we’ll cover a range of Yeti add-ons here that can help solve both! So, let’s get into it – here are some of the best Blue Yeti accessories if you’re looking to upgrade your mic.

And if you’re not yet committed and are still shopping around, you can see the full range of Yeti competitors in our Best Podcast Microphones Guide.

Heads up: We use affiliate links in this post and may earn a small commission should you choose to buy through them – though never at any extra cost to yourself

Question: What Are the Best Accessories for the Blue Yeti Microphone?

This post was prompted by an email I got from Brian Flaherty about upgrading his Yeti.

Hi Colin – thanks for all the advice. I do have some questions about gear. I did a few episodes of a podcast with 2 other friends (so 3 of us in all) and we all shared the Blue Yeti which as long as we were close enough to the mic sounded great. So now I want to take it to a new level with an interview podcast and I plan on using the same Blue Yeti and buying a second one for my guest.

My question is: can you recommend a stand or holder that works with the Yeti to allow me and the guest to sit normal and get right up on the mic? Same with the filters/windscreens. DO I need those for a quiet office situation?

Thanks, Brian. These are good questions, and they highlight some of the most common downsides of the Blue Yeti when used in the wild. So, let’s look at a few things we can do to improve the performance of our Yeti.

As an aside, can you connect and record 2 USB mics into one computer? Our article explains why we don’t recommend it, and gives you a whole load of better options instead!

The Trouble With the Yeti’s Stand

First, on the microphone mounting question, this is a great step to take. The Yeti’s stand is fine as a stop-gap, but it’s too low to get your mouth in the right position when placed on an ordinary table or desk. Speaking and recording are a whole lot easier if you can mount your microphone a little higher up, more at natural mouth level.

When you bend, it has a pretty dramatic effect on your sound, after all. Your voice becomes strained as it forces its way through a bent windpipe, emanating from squashed lungs and a crushed diaphragm. Sounds dramatic, right? But those parts of your body are soft and fragile, and they’re strongly affected by the position you sit in. You’ll almost always sound better if your spine is straight and your chin is high.

For a deeper dive on this, check out Where Should I Put My Blue Yeti: Tips for Positioning.

Blue Yeti Microphone Stands: The Flexible Mounting Option

First thing’s first, then – we want to swap out that default built-in stand for something that drastically improves your recording posture, and gives you much more flexibility.

Many podcasters mount their mics on boom arms. These are popular because of how adjustable they are, and also because they don’t need to sit on the surface of your desk or the floor itself. They don’t really take up any surface room at all – save for a few inches on the very edge of the table where they clamp on.

If you do go the boom arm route, you’ll need a good quality one to take the weight, and Blue have the on-brand Blue Compass Boom Arm available. My favourite boom arm is the Rode PSA1, which is around the same price.

To be honest, though, you don’t need to spend that much on what is only one part of your Blue Yeti accessories kit. This boom arm from Luling Arts is almost half the price of the other two, and it comes with a whole load of extras – including something else we’re going to need!

Just to tie up our boom arms section, though, these mic stands are amazing for keeping your Yeti handy, but just out of the way. Pull the boom arm around to your mouth when you want to record, and push it back when you’re finished. Easy!

Blue Yeti Shock Mount Options

Next up, a shock mount is a tool that attaches your microphone to the microphone stand and protects it from vibrations and noise passing through the stand or the table.

Without a shock mount, you’ll often hear banging, rubbing or rustling, which is conducted right through the stand and into the mic. But, a shock mount holds the microphone in a soft mount – often rubber bands – so the noise can’t reach the mic itself.

There is an official Blue Yeti shock mount, the Blue Radius III. It’s not the cheapest in the world, but guaranteed to work great with your mic. The Blue Yeti Pro is pictured here, on the right, mounted in one of the same.

There’s a decent alternative Yeti shock mount by Auphonix, which is less than half the price of the Radius III. With budget gear, there’s always a risk that it won’t work correctly or last very long, but reviews of the Auphonix Yeti-compatible shock mount are overwhelmingly positive.

The Luling Arts boom arm does come with a shock mount, but, unfortunately, this isn’t compatible with the Blue Yeti.

Using a Pop Filter With Your Blue Yeti

Lastly, for the windscreen/pop filter question, a pop filter is great for reducing speaking noises called plosives. A plosive is the popping sound that happens when you say a ‘P’ or a ‘B’ or similar – when you blow air from your mouth and it hits the microphone with force.

Good mic technique means getting right up close to the mic so your voice is much higher than the background noise. But, as a result, that will increase plosives since the air you’re expelling from your mouth has far less distance to travel to the mic.

Pop filters are ten a penny, and most come with pretty universal screw mounts that clamp onto your mic stand or shock mount. Be warned that some of the ultra-cheap ones work poorly and are easily broken.

The “official” Blue Pop Windscreen was Blue’s traditional (and slightly over-priced) offering on this front, but if you’re buying the Luling Arts boom arm, then this comes with a pop filter included!

These are pretty un-technical bits of kit, though, so don’t overthink it. You can even make a pop filter from a hanger and a pair of tights!

Conclusion: What Blue Yeti Accessories Are Worthwhile?

That sums up the most useful Blue Yeti accessories we’ve used. I’m sure there are more around, so be sure to reach out in our IndiePod Community if you’re using something different.

You can usually get Blue’s boom arm and shock mount in the Yeticaster package, but it’s hard to see past the Luling Arts bundle as a more cost-effective alternative. With the Luling Arts kit, you’ll still need to get yourself a shock mount like the Auphonix model, but all-in, that’s still going to save you money on the Yeticaster bundle.

No matter which models you buy, though, your neck and back will thank you for saving them from the constant leaning over, and your audio quality will jump as a result!

Best Software for Blue Yeti?

We’ve covered the best hardware accessories for the Blue Yeti – but what about software? After all, you’re going to need something to record and edit your audio with.

BLUE VO!CE

Logitech offers a free software programme for the Yeti called BLUE VO!CE. This is simply an audio processing software, though, and not something you can use to record the audio itself. VO!CE lets you run effects like Compression, EQ, and Noise Reduction, or, it has a bunch of “novelty” voice effects, too. The stuff that podcasters will find useful (the audio enhancements mentioned above) can be found elsewhere, so VO!CE is unnecessary for most Yeti users.

Audacity

A free option that can be used to record and edit your audio is Audacity. It’s the most popular podcasting software in 2024. The main downside is that its interface looks a little clunky and complicated. If you’re new to audio, this can all take a bit of time to figure out.

Alitu

The second option is ‘Podcast Maker’ tool Alitu, which makes recording, editing, and publishing your podcast as simple as humanly possible.

All of the compression, EQ, and other processing is taken care of for you, automatically, so you don’t need to have the slightest clue about how any of it works. The Noise Reduction is also sorcery-levels of good, too, as you’ll hear from the clip, below:

Alitu lets you record remote calls with guests or co-hosts, and publish and distribute your show from within its interface. It even has automatic filler word removal and text-based editing capabilities. These are all features you won’t get with Audacity. Alitu is a paid monthly subscription, but you can try it out free to see (and hear!) what you think!

When deciding what computer or laptop to get to produce your podcast (or any audio) a lot of depends on what DAW (digital audio workstation, or audio editing software in plain English!) and plugin software you use. Often, upgrading the computer you already have will be fine. But what if you need to buy again from scratch? Let’s take a look at how I think about buying a great audio production computer.

What’s the Difference Between a Laptop & Computer for Podcasting?

In another article, we went through some suggestions to get a person started on their quest for a laptop for podcasting.  However, some people may not want a laptop and may be looking for a desktop PC. 

What’s the difference, you may be thinking?

Generally, a desktop PC can be custom built or pre-built (the ones from the store are ready to go) and will have more resource power and ability for future upgrades as they arise, or when the funds are available to do so.  With a laptop, there are not many parts that can be replaced should they fail. This affects upgrades, too.

I like to call building desktop PCs “future-proofing”, due to the customization ability.  However, the key factor to always keep in mind is that all parts need to remain compatible with each other – see your local computer shop to always check before purchase!

Why Choose a Desktop PC for Podcasting?

As mentioned already, you can, generally, get a more powerful machine in a desktop compared to a laptop.  You can also upgrade it slowly to make it more of a workhorse. 

Often, once you start getting into production on a laptop, the recording process itself can cause a fan to rev like crazy, which means it gets into your recording and makes it noisy.  I can’t tell you the number of times I’ve come across this in audiobook recordings from laptops that ruined the performance with excessive fan revs.  Plugins in editing can also be resource-hungry – meaning they need heavier performance from the CPU and RAM.

A DAW such as Audacity or Reaper may not be as resource-heavy, but you need to keep in mind that there are several other processes and programs that need to be running at all times just with the Operating System alone.  You then tack on others like having a browser open, extensions, anti-virus software, etc… The resource pool can run out pretty quick these days even on an 8-gig RAM computer.

Lastly, if you invest in a desktop PC, and if you’re a gamer, your machine can multitask in your downtime!

Desktop PC for Podcasting Resources

When I use the term “resources” I’m talking about the symbiotic relationship that the RAM and the CPU share.  Back when I was new to desktop builds, I was under the myth of “the higher the RAM the better off you are”.  This isn’t necessarily true.  Well… it is and it isn’t.  Even if you invest in 64 GB of RAM, but your CPU is “slow” (i.e.: not that many cores, and a lower base speed), your RAM won’t be utilized properly. 

What does this mean? It means you can still overload your system so that it causes freezing or crashing.  This may all sound overwhelming right now but don’t fret.

Recommended RAM and CPU

This is a personal preference, but I would recommend a custom build or pre-built machine that has 16 gigs of RAM and a 6-core CPU like AMD Ryzen 5 5500 6 Core.  AMD brings high-performance CPUs at a way more affordable price.  I use them in my custom builds, and I feel they perform nicely. A quad-core CPU is the bare minimum.

Eight gigs of RAM is a “waste” if you want to invest in a desktop PC and would be better suited to a laptop – though you’ll likely run the risk of revving fans whether in a laptop or desktop.

RAM is more affordable these days as well.  Back in the day, I used to pay $80 CAD for a stick of 8 gigs, and now, for just a bit more, you can get 32 gigs of RAM.

Brands like Corsair and Kingston are great for RAM.

Other Considerations for a Desktop Build for Podcasting

You don’t need a top-of-the-line video card, but you don’t want to completely cheap out either – I learned this the hard way.  Even though we are working with audio, DAWs (especially when auto-scrolling and using iZotope RX’s editor) are surprisingly heavy on graphic resources which can impact your machine’s performance.  Learn from younger Sarah’s mistake!

You can also swap out fans in a desktop PC for “silent” fans.  They aren’t truly silent, but much better than the stock fans.  I’ve had good results with Noctua fans.  Just be sure they can fit in the case prior to purchase. My case is huge, and it barely fits.  Again, when in doubt, contact your local computer parts store.  These would be considered a luxury purchase, not a necessity.

If you have the budget, invest in 2 SSDs – one dedicated JUST to the Operating System, and one just to storage of files and session files from your DAW.  This will help your machine run more efficiently.  Try to get minimum 1TB – files and installed software add up a lot quicker these days.

The prices have really come down since SSDs first appeared on the market, and watching for sales can help too.  You can start with one and add another later as long as the case can fit it and the motherboard has the connections to add more.

Check your DAW Requirements to Figure out Your Minimum Spec

The Digital Audio Workstation (DAW) you choose has a huge effect on the computer you need. Remember to check out our podcast editing software article if you’re still trying to choose one for producing your show.

• Pro Tools Studio for instance is a pretty resource-intensive program and requires a quad-core processor (Intel i5 or better) in order to run. For the average podcaster, a Pro Tools capable system is likely overkill.
• Adobe Audition, by comparison, will run on nearly any system with a multicore processor and 4GB of RAM or better.
• Reaper does not have specifications for its software, and is often said will run on a potato.
• Audacity, like Reaper, has quite low requirements, asking for 2GB RAM and just 1GHz processor speed.

A non-DAW option for recording, editing, producing, and publishing your podcast is Alitu. Alitu is a web app, so if your computer is good enough to connect to the internet, it’ll be more than capable of running all of these processes, without the need for additional software.

Check DAW Plugin Requirements

Another factor that determines your computer needs is the requirements of the plugins you use with your DAW. Common plugins like iZotope RX or Ozone require more resources to handle the intensive processing the software does to your audio. Virtual instruments and synths like Kontakt often require more RAM in order to handle the number of audio samples processed and keep the latency to a minimum.

What’s Latency?

This is something that comes up a lot in audio production circles. Not surprisingly, because it is important. But if you follow our CPU recommendations below, you’ll find it shouldn’t be an issue.

Latency is the time between the input and output of a sound. It is the difference between when you press a key on your keyboard and hear a sound played from your monitors. It is also the delay between speaking into a microphone and hearing your voice played from your monitors.

Every system has some latency. But as long as the latency is below 20ms, your ears won’t notice the delay.

What to Look for in a Computer for Podcast Production

The two most critical factors that affect your computer’s ability to process sound are RAM and CPU. Other factors, like drive speed can help, but your memory and processor are the key factors in how smoothly your system, and therefore your DAW operates.

Memory Recommendations

For most podcasters, 16GB of RAM would be overkill. If you do sound design or run a lot of high-end graphics systems or games on your computer, more RAM is better. But for the average user, 8GB of RAM is enough to meet most system requirements and have plenty of space to load stock plugins and audio.

More RAM means more tracks and more plugins.

Processor Speed & Type

Your central processing unit (CPU) is the brain of your computer. It takes data from the system memory and processes the calculations and machine language that allows your computer to perform its tasks.

A faster processing speed means the computer is able to complete each of its tasks faster. More processing cores are the equivalent of having more than one processor, which means your system is able to process more calculations at once. This leads to less stuttering, lower latency and the ability to handle more powerful plugins on more tracks at once.

Best Computers for Podcast Production: Our Recommendations

We’re happy to make some recommendations here, but remember, on something like computers, it’s impossible for us to actually try them all out. We’re basing this on advertised spec and reviews. So, if they work as advertised, they should do the job very nicely!

The information above is helpful if you want to venture down the road of a custom build, and can give you a starting point if you don’t have access to a place that can build one for you. 

The irksome thing with prebuilds is that they can have a few high-quality parts but then “cheap out” on others in the same unit.  A good starting point for prebuilds is to search for “gaming desktop”.   

Below are some suggestions for pre-built desktop computers for podcasting solely based on specs. I’ve not used any of them and can’t guarantee performance.

• Acer Aspire Desktop, AMD Ryzen 3 3200G Quad-Core Processor – ships from Amazon but sold by third party
• ASUS ExpertCenter D500SC Small Form Factor Desktop PC
• Dell Inspiron 3910 Desktop Computer Tower – ships from Amazon but sold by third party
• HP ENVY Desktop Computer, Intel Core i7-10700, 16 GB RAM – ships from Amazon but sold by third party. This model specifically states it can be upgraded. Some prebuild desktop computers cannot, or make it difficult to do so.
• 2022 HP Pavilion TP01 Desktop Computer, Intel Core i3-10100, 16GB RAM – ships from Amazon but sold by third party

Common Myths Around Audio Production Computers

Mac v. PC

Mac v. PC is the Coke v. Pepsi of the computer world. At one time, there was a wider division between Mac and PC in terms of capabilities and especially available software. However, as Macs picked up the Intel chipset over Motorola and as software programmers began developing more for both OSX and Windows platforms, the differences became less and less meaningful.

Ultimately, the answer to the Mac vs PC question depends on user preference and budget. If you are already a PC or Mac user who is satisfied with your operating system, there’s no real gain to switching between them.

You can opt to buy an Apple computer for the first time, but they are definitely on the pricey side.  Currently, there are some software compatibility issues with their M1 technology.  As a personal opinion, I’d hold off while more software developers catch up and iron out the kinks since it is very new tech.

Is Pro Tools the Industry Standard?

Yes! And no! It all depends on the industry.

For the music recording industry, as well as film and TV, Pro Tools is hands down the most common software you will see in studios around the globe.

If you produce EDM, you’re more likely to work in Logic or FL Studio. If you work in gaming sound, the standards are murkier, with some working in Pro Tools, and some working in some other DAW of their choice.

Across the board, I am seeing more and more sound designers make the switch to Reaper. And in podcasting, no standards for software choice currently exist.

More and more, like the Mac v PC argument, the tools you use to create your podcasts or music are largely dependent on personal choice and the needs of your production.

Again, check out our Best Podcast Editing Software roundup for a full range of options here.

The Best Audio Computer Add-On: SSD Drives

One often overlooked factor that can have a profound effect on your system performance is the hard disk drive (HDD).

Swapping your current drive with a Solid State Drive (SSD) can significantly increase the performance of your system. This is because, like RAM or a thumb drive, data is stored digitally instead of being written to a plate on the internal drive. This leads to faster seek times and a drive that operates much faster.

Editor’s Note

I installed my first SSD myself about three years back, and it’s the one thing that made the biggest difference to how well my computer runs. It’s amazing, everything runs so much quicker, from simple spreadsheets up to huge Audition projects. I don’t go without one now!
Colin

For a good quality SSD you could install yourself (make sure you’re comfortable doing so – don’t wreck your computer!) or just ask a local computer shop to do it for you. You can usually pick up a 1TB SSD for between $80 and $100.

DAW Alternatives?

Whether you’re running a PC from 1998 that can barely process a word doc within an hour, or if you’re intimidated by the thought of learning DAW-based audio production, then be sure to check out Alitu

Alitu is a podcast-making app that was designed to make recording, processing, editing and publishing as simple as humanly possible. It enables users to create and publish a podcast without knowing the slightest thing about audio production.

You can even publish your podcast with Alitu, and it’ll auto-generate episode transcriptions for you, too. For a full rundown of its features, check out how to make a podcast with Alitu.

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Best Computer for Podcasting: Conclusion

This is based solely on personal experience, but if you are in the position to budget or save for a custom build, then this is the way to go for the best bang for your buck.

Here, you’ll have little to no manufacturer bloatware eating your processing resources, and part replacement is much easier, too.  Many computer parts stores can help you pick out parts and assemble them for you.

You can do prebuild but READ, READ, READ all their spec charts, research reviews from multiple sites, and double check if they can be upgraded/modified.  You can end up with a nice machine, but it may take a bit more research on your end. Hopefully, with the information provided here, you can make a better-informed choice.

Think of a desktop PC as a long-term investment.  You don’t need to drop a ton of money, but if you go down this path make sure you start with a sturdy foundation!

So what’s an example of this? Well, it might be that you and a friend are recording into a mic with only one headphone jack, but you’d both like to wear headphones. Plugging in a splitter will let you connect two pairs of headphones or earbuds.

Or, you might be recording into one device but you’d like to send the audio to a backup recorder too. A splitter can help you do that.

In this post, I’m going to focus on the latter. So let’s take a look at how and why a microphone splitter might help you record better sounding audio.

Using a Mic Splitter to Create “Two Channel” Recording

One of the most novel ways of using a mic splitter is if you have a small digital recorder, like the Tascam DR-05. Basically, a recorder that doesn’t have any XLR inputs to let you plug in multiple mics.

Sure, you can record multiple participants into the device’s built-in mics. But the sound levels are going to be inconsistent based on each person’s distance from the recorder, as well as how loud they talk.

An alternative is to run a splitter into your recorder’s 3.5mm input jack. Then, connect two mics into it. These would also be 3.5mm connecting mics – commonly, lavalier mics. The best “affordable quality” lavalier option out there right now, in my opinion, is the Rode Lavalier Go.

If you’re using a standard mic splitter for this, then the audio is going to be recorded in “joint stereo”. Here, you’ll still benefit from both participants being more “on-mic” (because they both now have their own mics). But if one is talking a lot louder than the other, that’s going to be hard to fix in the editing phase.

A solution for this is to use a mic splitter like the Hosa Stereo Breakout, which helps create something more akin to a “two-channel” or multitrack recording.

Heads Up: We’ve had some reports from users who’re having trouble getting this mic splitter to work with the Zoom H1. To see the ones we’ve checked it with, you’ll find a list of confirmed compatible recorders at the bottom of the post.

Splitting in Stereo

When I ran two lavalier mics into my digital recorder using a normal mic splitter, the audio was recorded in “joint stereo”. This means that both sides mirrored each other, as you can see in the first screenshot.

But if you’re using a stereo splitter like the Hosa Breakout model, you can clearly see the difference on both channels. There’s still a bit of “bleed” from one side to the next, but it’s minimal.

When you record in this manner, you can split the sides of your stereo track into two mono tracks in your editing software.

This means you can alter the levels of each participant independently if one person was a bit too loud or a bit too quiet.

Using Lav Mics Into a Digital Recorder

My first choice for using two lav mics simultaneously is to run them into the Zoom H5‘s XLR/TRS combo ports, using 3.5mm to 1/4″ mono adapters.

This gives you full control over both mics. You can set the gain of each independently, before and during the recording.

But if you’re using a smaller model of recorder that only has a 3.5mm port for external inputs, the Hosa Breakout gets you as close to two-channel recording as you’re likely to find with this type of setup.

Recording With Four Mics

If you’re using a recorder with two XLR/TRS combo ports, as well as a 3.5mm input (such as the Zoom H4 or Zoom H5), then you can use four microphones at the same time.

The two mics feeding into the combo ports will record on independent channels. At the same time, the Hosa Breakout will split its mics into a stereo track.

These can be separated into two mono tracks in post-production. All tracks can then be processed independently in your editing software.

This setup is like having a mobile radio studio with you at all times.  It’s a fantastic option for ’roundtable’ recordings of four people.

Of course, a simpler way of doing things these days might be to opt for a dedicated multitrack podcast recorder like the Zoom PodTrak P4. This lets you record local participants, phone calls, online interviews, and play music/SFX during your sessions, too. Check out our full review of the Zoom PodTrak P4 and see what you think.

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Summary: Using a Mic Splitter Cable

Mic splitters are a great way to add more flexibility to small and simple recording setups. At around $5, adding the Hosa Breakout to your setup is unlikely to break the bank, either.

You’ll find Hosa Breakout cables in sizes other than 3.5mm, too. For example, they have a mic splitter for 1/4″ to 1/4″ connections. Visit the Hosa store on Amazon to see their full range. Bizarrely, they also make work gloves. That’s handy, eh?

I mentioned that the 3.5mm Hosa model has its share of reported issues when used with the Zoom H1. But here are the recorders we’ve successfully tested it with.

• Tascam DR-05
• Zoom H4
• Zoom H5
• Zoom H6

Be sure to check out our multitrack recording guide too. This will help you to explore your full range of options when it comes to split channels, independent tracks, and just generally getting more flexibility and control out of your recording sessions!

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.

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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.

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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.

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.

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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!

• A pop filter is used to eliminate the sound of plosives.
• Plosives cause a rush of air that can cause the microphone capsule to overload.
• If you publish an episode laden with untamed plosives, your audio can sound jarring and unprofessional.
• Fortunately, pop filters are cheap to pick up, and simple to use.
• Read on to get the full lowdown…

You’re well underway on your podcasting journey.  You have your cables sorted. A booth, (in some shape or form) has been soundproofed. And, while completing sound testing, you even relieved yourself of gear-related noise.

The first recording has been sent off to an editor and you’re given a note. Your mic is popping! Be careful – could you maybe try moving back? Maybe at first you aren’t sure what they mean and ask for clarification. The editor, in turn, explains your plosives are creating a popping thump.  But wait! You already use a pop filter so how can this be?

Don’t fret.  In this article, you’ll learn about the basic mechanics of plosives and pop filter techniques to help eliminate that pesky popping sound.

What Are Plosives?

Before we get into the specifics of pop filters, it is important to understand some mechanics of the mouth in regards to sound.

We typically think of plosives as the sounds for b, p, t, and k.  However, as it turns out, the mechanics of plosives are much more complex.  There are actually three types of plosives – bilabial, alveolar, and velar.

Speech-Language Pathologist Mary-Anne Zubrycky, M.A.S-LP(C), shares some mechanics of plosives.  This knowledge can help you control these problematic sounds in a recording scenario:

Plosives are consonants which are produced by stopping the flow of air at any point in the vocal tract, and explosively releasing the air. Plosives refer to a particular nature, or feature, of a consonant.

Recording people have trouble with unvoiced plosives.  Those are the plosive sounds where the vocal cords are uninvolved, or the cords are ‘open’ or non-vibrating. These sounds are p, t, and k. They can result in unattractive popping sounds and buzzing noises. In addition, a non-plosive sound, the continuant s, can also be a problem.

Understanding consonants, manner of articulation, place of articulation, and allophonic variation of any sound, particularly plosives, all make a difference to performers, technicians and professionals in the recording world.

Try this sentence with a candle, a light match, a mirror or just the palm of your hand. Say this p-loaded sentence paying close attention to where the p sounds are exploded to a greater and lesser degree:

Paul Harper Phillip adopted a pet hippo from a Peace River cop in April.

Whether you are getting into podcasting, interviewing, singing or acting, knowing about plosive sounds can help you with microphone use such as axis, distance, mic filters, and other recording techniques, in addition to modifying your own articulation of speech sounds.

What are Pop Filters & How to Use Them

I digitally sat down with Yanni Caldas of Amnesia Sound to break down this mystery.

What is a pop filter and what do they do for the performer?

Yanni:  A pop-filter is used to eliminate the sound of plosives. Plosives cause a rush of air that can cause the microphone capsule to overload. This results in a distorted or low, airy thump. These issues can be treated through the use of different styles of pop filters.

With so many to choose from, and numerous ways to position them to get the best use possible for your project, it can seem daunting for beginners to understand how to get the cleanest possible sound.

Can you tell us about the different types of filters?

Yanni:  There are 4 main types of pop filters:

1. Clip-on mesh/nylon that clip onto the mic stand with an arm that you can use to position it where you want.
2. Clip-on metal pop-filters.
3. Microphone attached.
4. Then a not-as-conventional method of taping a pencil diagonally across the microphone capsule (this totally works for a unique sound, trust me).

Can you tell our readers when you would use the different types of filters?

Yanni:  In music recordings, I always prefer to use either the clip-on metal pop-filters or the microphone attached. The choice, in general, depends on the performer and how experienced they are.  With beginners, I often use a clip-on pop-filter as a way to position them roughly around the same spot.

The benefit of the clip-on pop-filters is that they can be used with practically any microphone and still provide an amazing result. For best practice, I like to have the pop filter 3 inches away from the microphone itself.  Sometimes I have the pop filter 1 inch away and other times 6 inches away. It all depends on the performer and what sounds best to your ear.

From there, you find the best distance for the performer from mouth to filter?

Yanni:  Yup – anywhere from 1 to 5 inches away from the pop filter itself.

With more experienced performers who are well trained in knowing how to create fewer plosives in their pronunciation, I prefer to use mic attached pop-filters. These allow for performers to get right up to the microphone and, when often using beautiful sounding condensers, they allow for all of the intricate details to be picked up with intimacy whenever the performer gets closer to the microphone. It allows for the microphone to be protected whenever the performer moves further away whenever they raise their voice.

Anyway, a key thing to know with the mic attached pop-filters is that these often only work with certain microphones that have pop-filters specifically designed to fit onto them.

For voice-over work, specifically, I tend to prefer nylon pop-filters over metal ones. I found that nylon pop-filters were really good at gently darkening up the audio so it’s slightly less bright.

As for positioning, I have preferred for voice-over to not be as in-your-face to make for a more natural experience, like a conversation from person to person. Having the pop-filter about 6 inches away and then the talent another 3 inches from the pop-filter generally allows for a natural performance that is pleasing to the ear.

There are times, however, more often than not that the microphone is 2 or more feet away. At that point, using a pop-filter is no longer needed. It is always best to listen in to what you’re doing to find the sweet spot where your audio will sound good.

Are there any other times when you wouldn’t need to use a pop filter?

Yanni:  Some dynamic microphones already have pop-filters built into them, such as the SM7B or the SM58.  These generally don’t need any additional pop-filter and can give a great sound out of the box.

I Moved Back but I’m Still Popping

Sometimes recording two feet away from the microphone isn’t an option. So what can you do if your plosives are still overloading your mic with a filter?

1. Raise your mic starting by two inches to help offset air flow from overloading the capsule.
2. If this fails, angle the mic back slightly (less is more in audio). Try four inches from mic to filter. Then another 2-4 inches from filter to mouth to start. If this fails as well, you can incorporate moving the entire stand upwards.

You’ll need to be mindful of your microphone’s polar pattern to ensure your voice doesn’t become thin or hollow-sounding by going off-axis.   

You and Your Plosives

A pop filter and knowing how to pronounce effectively around a microphone work together hand in hand.  It’ll be trial and error as everyone is different.  Use your ears.  Trust your ears.  Keep doing sound test recordings until you’ve found that sweet spot, trying out all the different techniques suggested in this article.

Good luck and happy recording!

If you wish to understand more about the mechanics of plosives, and to learn how to control your own, you can read more from Mary-Anne at: So, You Want to Know About Plosives.

And, if you’d like more help with any and all aspects of podcasting – from recording quality audio to monetization and promotion, be sure to check out Podcraft Academy. That’s where you’ll find all of our courses, resources, and we run weekly live Q&A sessions in there too!