• You don’t need a mixer to podcast, but there are reasons to want one!
• One of them is increased control and flexibility in recording (be it locally or remotely).
• A mixer can help you cut down on your editing time, too.
• However, they can add an extra layer of complexity to your setup.
• So, should you get a mixer for your podcast? And if so, which ones are your best options?
• Read on to find out

We often joke here that podcast mixers appear more in stock photos than they do in actual podcast setups. They definitely look cool – l33t podcasting ahoy! – but are they really useful? Well, that’s a good question, because – unlike a microphone – you definitely don’t need a mixer to podcast.

If you’d like to dig into the reasons why you might (or might not) want one, then hop on down to this section. Otherwise, let’s kick on with some of the best podcast mixer recommendations.

A quick heads up: We use affiliate links on the site to help support the masses of free content we put out. We’ll earn a small commission should you choose to buy through any of them – at no extra cost to yourself.

Best Budget Mixer for Podcasting

I’m going to offer a range of podcast mixers based on price. I won’t venture into the “extreme budget” range because, honestly, they’re just not very good. If you’re strapped for cash, then avoid mixers altogether. That said, you can get some pretty good gear for surprisingly little, if you know what to look for – which you will at the end of this roundup. And that takes us nicely to our mid-range recommendations…

Best Mid-Range Mixer for Podcasting

Zoom Podtrak P4 ($150)

• XLR Inputs: 4
• Channels: 4
• Buy the Zoom Podtrak P4

Weirdly, my current favourite mixer isn’t technically a mixer… Thing is, it can do practically everything a mixer can do, but in a much more flexible package!

The PodTrak P4 is technically a handheld podcast recorder. Despite that, it really does replace a mixer, doing the same things in a more straightforward and accessible way.

The device can take four XLR mics as inputs, so you can cater to a decent-sized group, and there’s individual volume control over every channel. Even better, there are headphone outputs for all four, with individual volume control on each. This is more than you get on most pro mixers!

The Podtrak can also take input from your phone or PC, so you can record calls right into the device. Add in a set of programmable sound pads on the front (just punch the button and it’ll play music or FX right into the recording), and it’s a tiny device that can do live production for a group of in-person presenters, plus remote guests.

Of course, that’s just the mixer-like features. Don’t forget this thing is handheld, so you can get out and about for recording anywhere. Plus, it can act as a USB device on your PC, to plug in any pro XLR microphone for general recording.

Safe to say, I like this little gadget, and you can see how much Matthew loves it in his full review of the Zoom PodTrak P4.

The fact that it’s only $150 / £155 is a little crazy. To me, it strongly competes with the Rodecaster (below) on features, but is a fraction of the price. If you think you might record with more than one person, locally, and you fancy some live production through the soundpads and remote call-ins, then this is a really great choice.

Buy the Zoom Podtrak P4 here

MackieMix8 ($98)

Mackie are a famous audio equipment company renowned for their quality. This compact mixer is also available as the Mix5 (1 XLR, 5 channels) or the Mix12 (4 XLRs, 12 channels). Mackie also offers the podcaster-focused DLZ creator unit, which we’ll read about shortly, but it will be out of the price range of most podcasters.

• XLR Inputs: 2
• Channels: 8
• Buy the MackieMix8

Maono Maonocaster ($120)

The Maonocaster is the other podcaster-focused interface in this category. In our Maonocaster review, Sarah commented that “the functionality seems to sway more towards live audio such as streaming.” and felt that the sound quality was short of what more established podcasters might be looking for. If you’re looking for a podcaster-first device in this price range, see if you can stretch to a Zoom PodTrak P4 instead.

• XLR Inputs: 1
• Channels: 10
• Buy the Maonocaster

Roland GO:MIXER PRO-X ($120)

This is a palm-sized audio mixer for mobile devices. It’s marketed towards folks who make music videos, web shows, podcasts, or livestreams with a phone or tablet. THE NAME IS ALSO IN FULL CAPS. Flex move!

• XLR Inputs: 1
• Channels: 4
• Buy the Go:MIXER PRO-X

Behringer Xenyx 1204 ($190)

Falling very much into the “traditional” mixer aesthetic of functionality over sleekness, this is still a highly recommended and very popular podcast mixer. A lot of Behringer’s more budget kit has questionable sound, but this one holds its own in its category. It has USB capabilities, too, which isn’t so common in more traditional musician-focused mixers.

• XLR Inputs: 4
• Channels: 8
• Buy the Xenyx 1204

The Yamaha MG10XU ($265)

This classic Yamaha mixer was a constant presence in our studio for a few years, up until we replaced it with the Rodecaster (below). The MG10XU is the USB model, the MG10X has built-in effects, and the MG10 is the standard analogue version.

• XLR Inputs: 4
• Channels: 10
• Buy the Yamaha MG10XU

Best Pro-Level Podcast Mixer

Rode Rodecaster Pro II ($700)

• XLR Inputs: 4
• Channels: 9
• Buy the Rodecaster Pro II here

The best player in this category is the Rodecaster II from…. well… Rode! The original Rodecaster was the first of its kind – an all-in-one studio mixer built just for podcasters. You’ll see from this roundup that there are many more of these interfaces on the market nowadays, but the Rodecaster has the advantage of being the trailblazer in its field.

This podcast mixer has a slew of features aimed right at the podcasting market. We go into them in-depth in our dedicated Rode Rodecaster II review, but here are some highlights:

• Take the sound cart buttons, designed for you to play music and Sound FX into your show WITHOUT the need for an external device.
• Ditch that iPad and load them into the unit itself. Then, marvel over the smartphone Bluetooth connection, so that you can record calls (or anything else really!) right into your show too, no cables required.
• It even acts as a digital recorder, coming with memory card capture built right in. So, if you regularly get out, recording shows on the road, then that’s one less piece of kit to take with you.

The Rodecaster Pro II is not cheap, and it’s not for everyone. But it could be perfect for some. The Zoom Podtrak has many of the same capabilities, is much better value and a lot more portable. But, the Rodecaster Pro II is undoubtedly a bigger and better device. If the price puts you off, though, then check out the Tascam Mixcast 4 and Rodecaster Duo, mentioned below.

Buy the Rodecaster Pro II here

Tascam Mixcast 4 ($370)

Tascam gets mentioned a lot less than Zoom in the portable digital recorder world, but their gear is every bit as good. The Mixcast 4 is the company’s venture into the “dedicated podcast studio” market. A great option for folks eyeing up the Rodecaster or Mackie DLZ but looking to fork out a lot less cash.

• XLR Inputs: 4
• Channels: 14
• Buy the Tascam Mixcast 4

Boss Gigcaster 5 ($465)

Our reviewer Dev loved the Boss Gigcaster 5 so much that they bought their review unit from Boss. But, although it has “caster” in its name, it’s not so podcast-focused as some of the other mixers mentioned here. A great option for podcasters who also dabble in music or live performance, and available as the bigger Boss Gigcaster 8 model, too. Read more about both in our Boss Gigcaster 5 & 8 review.

• XLR Inputs: 2
• Channels: 5
• Buy the Boss Gigcaster 5

Rode Rodecaster Duo ($500)

Rode’s flagship podcast recorder may be the Rodecaster II, but even they acknowledge that few podcasters need four mic inputs. With that in mind, the Rodecaster Duo gives you almost everything the Rodecaster II does, but with half the mics. No, this doesn’t half the price, but it knocks a couple of hundred off it, at least. Read our Rodecaster Duo review for the full lowdown.

• XLR Inputs: 2
• Channels: 7
• Buy the Rode Rodecaster Duo

Mackie DLZ ($820)

We came across Mackie’s Mix range earlier on, and now we come to their “we can be the most expensive podcast mixer on the market” option. Undoubtedly a fantastic device, but it outprices even the Rodecaster II, and you can pick up the Tascam Mixcast 4 for less than half the amount. Maybe one to keep an eye on for any future deals or discounts.

• XLR Inputs: 4
• Channels: 12
• Buy the Mackie DLZ

Do I Need a Mixer for Podcasting?

Now that we’ve had a look at the best mixers for podcasting, do you need to run out and spend your hard-earned cash on one? The answer is no.

I’ll start by saying that, yes, a mixer will improve your audio quality. The pre-amps will be nicer and will really help your microphone shine. But, if you have a decent microphone already, then it’s not going to make as much of a difference. At that level, it’s certainly not something that’ll suddenly win you a load more listeners.

Audio Engineers buy mixers for the sheer audio quality, but podcasters buy mixers for the options and the control that they offer, as well as the efficiency they can bring to our recording workflow.

Our 2019 podcast gear survey showed that around half of podcasters used some mixer or audio interface. Many others will still be creating great-sounding audio using a high-end USB mic and a double-ender recording app, though. In podcasting, there’s never one single right way to do things.

Main Reasons to Buy a Podcast Mixer

So let’s have a look at the details – here are the reasons why a Podcaster might buy a mixer:

1. Using Other Pro Kit

If you want to use professional quality microphones that work with XLR or other pro-type cabling, then to get the best out of them, you’re going to need a mixer or audio interface.

It is possible to get XLR > USB converters, but they won’t take as much advantage of the quality of your mic.

2. Multi-Channel Control

Having control over the individual channels of your audio is one of the simplest but biggest enhancements that a mixer brings into your life. In your early days, you’ll be recording everyone on one channel. That means loud people are loud, and quiet people are quiet. With a podcast mixer, you can actually turn up those quiet folks and turn down the shouters. Plus, you can record them on different channels and have much more power in post-production. Excellent!

3. Inline Enhancements

Inline enhancements work hand-in-hand with the multi-channel capability and are great for improving your sound. They can also save you a whole lot of time in post-production. The ability to use a low-cut or high-cut filter,  equalisation, and gain on each channel individually is brilliant. Plus, some podcast mixers have compression and limiters, too.

4. Backup and reliability

Unlike computers, podcast mixers don’t crash, and I’ve never seen a digital recorder do so, either. You can cut out the computer component altogether, reducing noise and flakiness, or you can record using software and with the mixer as a backup recording, sending a second output to the digital recorder.

5. Live Production

Live producing means adding your music, your sound FX, phone calls, recorded messages, and anything else that goes into your show on the fly – it’s all going in live. You’re treating it like a radio show, so there’s no post-production at all. You simply hit record, do the show, and then stop.

Afterwards, you might apply some compression or EQ in Post, but all the audio you need is already in there. Editing is cut down dramatically.

6. Mix-Minus

In the era of sophisticated double-ender recording software, this is a lot less important than it once was. But it’s still worth mentioning.

The mix-minus approach was common during the era when Skype was the planet’s foremost podcast recording platform. It’s a setup that helps prevent hosts from hearing their own voice being played back to them through the mixer, but, they can still hear their music, sound effects, and guest.

You can do this with any mixer that has an ‘Auxiliary Out’ or an ‘FX send’ on it, and a fader or a knob to control that output. In practice, you plug that Aux/FX into Skype or any other call software, and then you turn down the Aux/FX knob on the Skype channel alone. That means you can’t hear yourself on that channel, but can hear everything else.

Here’s our guide to setting up a mix-minus for your podcast recording. But, it’s unlikely you’ll need to worry about it nowadays. As I say, most remote recording platforms take care of it all for you automatically.

What to Look for When Buying a Podcast Mixer

If you’ve decided to buy a podcast mixer, here comes the tricky part. The range of mixers on the market is bewildering, and the choice isn’t made any easier by the ridiculous number of features and specs listed for each one.

The problem is that many mixers are designed for Audio Engineers, and those guys know a LOT about the technical details. Therefore, those that sell mixers plaster the tech specs all over the website.

But, as a podcaster, there are three things you need to worry about:

1. Number of Inputs & Channels

My own setup uses four channels on a regular basis. This is made up of:

1. My own microphone
2. A local co-hosts microphone
3. Music and FX via iPad
4. Software input for remote calls

I’ll sometimes have a mobile phone plugged into another channel and another local co-host, so I need a minimum of six channels and probably three XLR inputs to be safe.

Many cheaper mixers will only have one or two XLR inputs, which limits the number of decent-quality microphones you can use locally, especially if they’re condenser microphones that need phantom power.

2. Control Types: Faders or Knobs?

More often than not, cheaper mixers use knobs all over the board. Knobs are fine for those adjustments that don’t tend to change during a recording, such as Pan, EQ or gain. But, for your main volume control, faders can be an advantage. A fader is a slider rather than a knob – you can see faders on the bottom of the picture opposite and knobs at the top. Faders offer more fine control than a knob.

You can get your music levels right every time with a fader, and ensure your recordings sound great. But, in saying that, knobs can do the job just fine, and tend to allow you to save a bit of cost if required.

3. Advanced Inline Processing Features

If you want to have fine control over your sound, reducing post-production, then you may be looking for extra inline features. The minimum you would generally expect are Equalisation (or EQ), a gain control and possibly a lo-cut filter. Beyond that, some podcasting mixers may have compression or limiter options, but don’t write it off it doesn’t. Many podcaster-first interfaces come with built-in sound pads and effects, these days, too.

Podcast Mixer Alternatives

Maybe the features and functions of mixers are attractive to you, but you don’t like the look of them, don’t have the room for one, or even, simply can’t afford one. What are some podcast mixer alternatives?

If you’re looking to run online convos with remote guests or co-hosts then software like Squadcast or Riverside might be the answer. They can do pretty much anything a mixer can do (and more), in a much simpler way, and don’t demand a big space on your desk!

Or, you might still want a tangible piece of equipment, but something a lot sleeker and less cluttered than your average mixer. If that’s the case, getting a USB audio interface might be the right move for you.

Conclusion: Choosing the Best Podcast Mixer for Your Budget

Whether you’re at the podcasting mixer stage or not, it’s always fun to look. There’s just something about all those dials and buttons

Those same dials are the danger, though! Don’t jump in too early. There’s nothing worse than complicating your recording process before you’re ready.

Instead, the best option, for many, is a good USB microphone.

Read our best microphone picks here

But once you are ready, a mixer can really help with your process, improving your sound and speeding up your workflow.

Top Podcast Mixer Picks

• Zoom PodTrak P4 – not technically a mixer, but can do all the same tricks. Small, portable, and affordable.
• Rode Rodecaster II – the big dog of podcast mixers, this is essentially the ultimate podcast studio.
• Tascam Mixcast 4 – sits in a nice Goldilocks zone between these two, in terms of look, functionality, and pricing.

And finally, be sure to check out our full podcast equipment guide if you’re still not sure what setup would suit you best. We’ll help you choose

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

Editor’s Note

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

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

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

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

So, What do they both do?

Both the Boss Gigcaster 5 and Boss Gigcaster 8…

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

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

Boss Gigcaster Quick wins

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

Monitoring

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

Wait… more differences?

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

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

Using the Boss Gigcaster 8 as a USB interface

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

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

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

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

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

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

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

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

Using the Boss Gigcaster 5 for live performance

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

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

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

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

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

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

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

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

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

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

Conclusions – Do YOU need a Boss Gigcaster?

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

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

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

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

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

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

New for 2022 – Check Out the Rodecaster Pro II

Related Article

Rodecaster Pro II Review: A Jack of All Trades Podcasting Device

The Rodecaster Pro II is the next generation of Rode’s revolutionary Rodecaster “all-in-one” podcaster studio. Is it worth buying? Find out more »

We first got our hands on a Rodecaster Pro back at the beginning of 2019, when one turned up on our doorstep (completely by surprise, thanks Rode!) it was immediately obvious that a lot of thought and research had gone into this design.

Our initial review was largely positive, but did highlight a few areas where there was room for improvement.

However, Rode, to their credit, seems to have been very receptive to the feedback they’ve had from the podcast community. There have been a number of firmware updates since the device was originally released, and those don’t look like stopping any time soon. This is a very well supported product.

So as things stand in mid-2021, let’s take a look at the Rodecaster Pro and help you decide whether or not it’s worth the investment for your own podcast, setup, and budget.

A quick heads up that our Rodecaster Pro link is an affiliate which means we may earn a small commission should you choose to buy through it, though at absolutely no extra cost to yourself.

What is the Rode Rodecaster Pro?

The Rodecaster is described by Rode as “the world’s first fully-integrated podcast production studio”. But what does that actually mean?

Well, if you took a mixer, cleaned it up, and made it much less complicated looking, then merged it with a digital recorder, that should give you a basic idea of what the Rodecaster is and does.

Mixers are handy things for plugging in multiple mics, doing live shows, and recording remote calls. But mixers can’t work in isolation, and they can’t save or store audio. The Rode Rodecaster can, so right away it’s going to simplify a lot of lives by swapping multiple pieces of kit and cables for one single unit. You don’t even necessarily need a computer to record with the Rodecaster!

What Can the Rode Rodecaster Pro Do?

The Rodecaster has a few different talents. For one, it gives you the capability to record phone calls. Whether or not this is a selling point will depend entirely on your niche. If your audience and guests are not overly technical, and unlikely to own mics of their own, then chatting to them over the phone might be the most practical option.

Although you don’t need a computer to run the Rodecaster, you can easily connect to one in order to record remote online interviews too. You can also use the computer connection to record into your favourite DAW, as opposed to the device’s own memory card. It gives you the capability to add in your own jingles and sound effects so you have access to them whilst recording at the touch of a button. This is a nice feature if you’re running a live show, or like to record “as live.”

How Many Mics Can I Plug In?

You can plug in up to four XLR mics at once, so you can have four people in the room together recording a podcast. Each mic can be uniquely set up via the control panel, where there’s a few different options and presets. We’ll take a look at these in more detail further on.

Can I Record in Multitrack?

You can now record multiple tracks either into a DAW (like Adobe Audition) on your computer, or directly onto the Rodecaster’s SD card. 

Recording on separate channels can give you a lot more flexibility in post-production. Most podcasters consider it an essential feature of any audio recording tool or device these days.

Recording Audio

You can independently control the settings of each mic that’s plugged in. Each input has its own gain slider, ‘mute’ button, and ‘solo’ button. There are a few processing options you can toggle on and off too.

• Compressor – to help level out the overall volume
• High-Pass Filter – to minimise the effects of low rumbling noises or mic pops
• De-Esser – to create a less sibilant recording
• Noise Gate – to reduce unwanted background noise
• Ducking – to automatically lower the volume of music underneath speech
• Aural Exciter & Big Bottom – humorously named EQ presets that change the tone of your voice

Personally, these are things I prefer to do in post-production. But they’re a nice feature if you don’t know much about audio production, or prefer to spend as little time as possible doing it.

Rodecaster Live Broadcasting Features

If you’re an avid live broadcaster or budding radio DJ, you’ll love a couple of features recently added to the Rodecaster recording arsenal.

Firstly, you can preview any pre-recorded audio file you’re about to play. Doing so doesn’t interrupt your broadcast or recording session. The preview is also set to a unity gain level, so it doesn’t matter the position of the fader – you’ll get an accurate reflection of how loud the clip is before you actually play it.

Secondly, you can get a caller on the line and communicate with them off-air. This can streamline your content as all the awkward “hello, can you hear me?” stuff isn’t broadcast to your listeners. Speaking to callers off-air means you can check (and fix) any audio issues before bringing them onto the show.

Sound Pads & Show Settings

There are 8 large sound pad buttons on the Rodecaster. You can use these to play effects or other audio clips. This could be anything from transitions and stringers, to entire pre-recorded interviews. You have the capability to pause clips, and you’ll also see the remaining time of the sound that’s going to end soonest. This is ideal for talking over outro music and knowing how long you have left.

You can customise and configure your sound library from the device itself, or by using Rode’s companion app.

You can store up to 8 banks of sounds, which is ideal if you run multiple podcasts, or share your Rodecaster with another podcaster.

You can also save all your sounds and settings for ease of setup. You can even export them for use on a completely different Rodecaster if need be.

Related Article

What’s the Best Rode Mic? From USB to Wireless, Dynamic to Condenser

From smartphone recording to multiple USB setups, Rode have an option for every scenario. Here, we help you pick the best fit for your own needs.  Find out more »

Headphones & Monitors

Another big plus for the Rodecaster is the options for monitoring your recordings.

There are four headphone jacks on the back of the unit, and you can control their volumes independently. This means that even if one person was particularly hard of hearing, they could have their headphone volume turned up high without it affecting anyone else. With other devices, you’d need an additional piece of equipment like a headphone amp or splitter for this, which in turn, takes up more room and adds more cables and wires to your setup.

The headphone jacks are 1/4″ TRS, so if you prefer to use a set of earbuds you’ll just need to pick up a little adapter, which you can get for about $2 on Amazon. There are 1/4″ Left and Right outputs to connect to studio monitors or speakers too, and these also have their own independent volume control.

Connections

Aside from the inputs and outputs mentioned already, there’s two more worth mentioning. The USB connection is what you would use for recording remote calls or anything else from a computer. It has its own level-control fader, solo button, and mute button.

There’s a 3.5mm TRRS jack that enables you to hook your phone up to the Rodecaster and record calls that way. Again, it has a level-control fader, solo button, and mute button.

You can also connect your phone via Bluetooth, and it has the same 3 channel controls as the above.

Files

You can access your recordings directly from the SD card, or by connecting the Rodecaster to your computer via USB.

The USB route is known as “Podcast Transfer”, and it appears on your Mac or PC in a ‘Read Only’ format. This means you can drag the files onto your computer for production, but you can’t accidentally delete them. It’s a nice little safety net.

Once you pull your recordings onto your desktop, you can use a DAW like Audacity or Adobe Audition, or a ‘podcast maker’ tool like Alitu to polish them up ready for the world to hear.

What Else Do I Need?

You’ll still need at least one microphone to podcast with the Rodecaster. When you connect a Rode mic (such as the Procaster) the unit automatically recognises it on the control panel. Presumably, the preamps will be designed to optimise the sound of any Rode mic you connect. Aside from that, depending on which mic you use you might want to get a boom arm. Headphones are always a good idea too.

There’s no memory card included, so you’ll need one of those. The Rodecaster uses a micro SD card.

Good Rodecaster Pro Alternatives

‘Rode Connect’ is free software that emulates the Rodecaster Pro on your computer. You can use it with up to 4 Rode NT-USB Mini mics, and record in multitrack. You can even feed in remote guests from apps such as Zoom and Skype. Here’s our full Rode Connect writeup for more info on that particular setup.

On the hardware front, Zoom’s PodTrak P4 offers many of the same features as the Rodecaster, though in a much smaller form, and at a significantly lower price.

Rodecaster Pro Accessories

In May of 2020, Rode released 4 new handy accessories for the Rodecaster Pro.

HJA-4

This is a pack of 4 adaptors (3.5mm to 1/4″) that enable you to plug in a standard consumer set of headphones or earbuds into the Rodecaster.

SC9

A 1.5m long TRRS to TRRS cable. This lets you plug your smartphone into the Rodecaster.

DC-USB1

A power cable that allows the Rodecaster to be powered from any compatible USB output, making it completely portable.

XLR-ID 

A set of 8 colour-coded rings you can fix to the device’s XLR plugs. The colours match those used for each mic channel in the Rodecaster interface. This means you’ll always know who’s mic is who, even at-a-glance.

Who Would Use the Rode Rodecaster Pro?

While Rode’s target market here is most definitely “podcasters,” that’s still a big group of people with many different needs, wants, and budgets.

You Might Want One If . . .

• You want the capability to easily record phone and online interviews.
• Your guests are unlikely to have decent mics of their own, meaning you’ll do a lot of interviews over the phone.
• You want the least amount of equipment, cables, and connections possible in your setup.
• You want to record live shows, or record your episodes “as-live” with effects and music played in real time.
• You want to record up to four people locally, and also bring in a remote or telephone guest.
• You want your equipment to be as simple as possible, without limiting yourself in any way.
• You want a portable setup that you can easily take on the road with you.

You Might NOT Want One If . . .

• You already have a well-tuned workflow and setup in your studio.
• You’re on a tight budget. The Rodecaster will set you back $600 – and you’ll still need to buy mics on top of that. If you have very little money to spend, check out What’s the minimum equipment I need to podcast?
• You record solo/monologue episodes, in which case, the Rodecaster is overkill for your needs.

Summary: The Rode Rodecaster Pro

The Rode Rodecaster Pro is one of the best podcasting devices on the market. It acts as a great “all-in-one” solution for many podcasters.

It was an impressive device when it launched, and now it’s even better with all Rode’s updates over the past couple of years.

The only thing it can’t do for your podcast is make you a cup of tea before you hit record. I’m sure Rode will add that in before long though.

Of course, it has to be said – the Rodecaster isn’t cheap. The price of $600 (not including mics) means it’s a non-starter for most. That’s not a criticism of the price, but there are a lot of podcasters who simply don’t have that sort of budget. If you’re just starting out, then you don’t need to spend nearly as much as that to get up and running. Again, take a look at the minimum equipment needed to podcast for more on that.

If you’ve been podcasting for a while now and know you’re not going to suddenly quit tomorrow though, then maybe the Rodecaster’s plethora of features will be appealing enough to you that you can justify the price. If you’re someone who does a lot of live broadcasting, for example, it’ll be a complete gamechanger.

If you’re able to muster the funds, it’ll definitely simplify your setup, your workflow, and give you loads of flexibility around how you record your show. These things can save you a lot of time in the long run, and time is the one thing that you can’t put a price on!

Remember, too, that you can get a ‘lite’ version of the Rodecaster as software on your computer using Rode Connect with 2-4 NT-USB Mini mics. And check out Zoom’s PodTrak P4 as a smaller and lower-cost hardware alternative.

Need More Help?

One of the Rodecaster Pro’s big plus points is simplicity. If you’re a fan of simplifying your setups, then you might want to check out our ‘Podcast Maker’ tool Alitu.

With Alitu, you have one single place to record, edit, produce, and publish your podcast. These processes are all simple in Alitu, even if you’ve never worked with audio before in your life. In fact, all the EQ, Compression, and Post-Processing happens automatically. If this sounds like something that’s of interest to you, check out our guide on how to make a podcast with Alitu.

And if you need some more tailored advice for your own setup, or want help with any other aspect of podcasting, then take a look at Podcraft Academy That’s where you’ll find access to all of our video courses, tutorials, ebooks, and downloadable resources. On top of that, we run weekly live Q&A sessions, too. It’s the perfect one-stop place to build and grow a thriving podcast!

A mixer is a great means of recording podcasts with remote guests or co-hosts over call apps such as Skype.

Mixers also give you the capability to create your episodes “as-live” by playing effects, transitions, and other audio clips during the recording, as opposed to editing them in afterwards.

If you combine the two, you can have a remote guest on the show with you, and set your mixer up so that they can actually hear all the audio that’s being played into the mixer.

But the one thing you don’t want them to hear is their own voice, so we need to set up what’s called a “mix-minus”.

 Setting up a Mix-Minus

What do I need?

1. A mixer, first and foremost. Check out our podcast mixers roundup for more on this. Here, I’m using the Samson MXP124FX, which is a USB mixer.
2. A destination for your audio. The place you’re sending it to be recorded – most likely a digital recorder or DAW.
3. A microphone with an XLR connection. Here, I’m using the Samson Q2U
4. An XLR cable
5. A stereo Y cable (3.5mm to 1/4″)
6. A 3.5mm to 1/4″ cable

Mixers can be a bit confusing to look at at first, because there’s a lot of buttons and dials on them.

For this though, we’re only interested in two of the mixer’s audio channels.

Channel one, where we’ll be feeding in the presenter’s audio, and channel five/six, where we’ll be feeding in the guest’s audio.

And, just in case you’re wondering, channel five/six has two numbers because it’s stereo, so left would be channel 5, and right would be channel 6.

So, with channel one, you want to plug in one end of your XLR cable, and then plug the other end into your microphone. Here I’m using the Samson Q2U, but any mic with an XLR connection will do.

With channel five/six, you want to plug in the Y end of your stereo Y cable. Put the red plug in the right port, and the white plug in the left port. R for right and R for red is a good way of remembering this if your mixer’s jacks aren’t colour coded.

Plug the other end of your Y cable, the 3.5mm plug, into your computer’s “audio out” or headphone jack.

This means we can now get the presenter’s audio from their mic into the mixer, and the Skype guest’s audio from the computer to the mixer.

But the guest still can’t hear the presenter, so we need to take the audio from the mixer and send it back into the computer.

That’s where the “FX Send” or “Aux Out” jack comes in. Plug the ¼” end of your 3.5mm to ¼” cable into there.

Then plug the other end, the 3.5mm end, into your computer’s “audio in” – if you’re working with a Mac you might need an additional USB adapter for this.

So this means that the presenter’s voice, along with any music or effects played into the mixer, can now be heard by the guest. But that also means they’ll be able to hear their own voice, and that’ll get distracting.

All you need to do to prevent that, is to turn down the “FX” or “Aux” dial in the guest’s channel – in our case channel five/six. At this point, they can still hear everything, except their own voice being played back to them.

And there’s one more wee measure you can take to make things easier for yourself in the editing process. Use the pan dials on your presenter and guest channels to turn one all the way to the right, and one all the way to the left.

That means you can record each side of the conversation on either side of a stereo track. This way, if there’s some background noise at one end whilst the other person is talking, you can clean it up a lot easier when you’re putting the recorded conversation back together.

Recording Your Audio – Options

Your mixer won’t actually store the recordings you make. For this, you need to send your audio out of the mixer, and towards a recording destination.

Most commonly this will be the DAW (digital audio workstation – your recording/editing software) on your computer, or a digital recorder.

Mixer models vary, but they all run on the same principles. On most mixers the “audio out” jacks are located in the top right hand corner of the device.

The cables you use to take audio out of a mixer are largely the same as the ones mentioned above. It just depends on where you’d like to record your audio.

Let’s look at a few popular options.

USB Mixer – DAW

If you’re using a USB mixer then you can record directly into your computer/DAW by selecting the mixer as the software’s “mic” or input.

Mixer – Digital Recorder via XLR

If your mixer has XLR outs (like the Yamaha MG10 – pictured) then you can direct stereo audio into a digital recorder with XLR inputs. Commonly these are models like the Zoom H4, Zoom H5, and Zoom H6.

Mixer – Digital Recorder via 1/4″

XLR inputs on recorders are usually combo jacks, meaning they can also accept a 1/4″ plug. This means you can take the left and right audio channels out separately (see the 1/4″ L and R jacks on the Yamaha MG10 image) in the same way you’d do with XLR cables. Except, this time you’d be using two 1/4″ to 1/4″ cables.

Mixer – Digital Recorder via 3.5mm

If your recorder only has a 3.5mm jack for external mic connection (for example, the Zoom H1) then you can feed your mixer’s audio in here.

For this, use a stereo Y cable, like the one in the mix-minus section. Connect both 1/4″ plugs into the mixer’s L and R jacks (remember, R for right/red) and feed the 3.5mm end into your recorder.

Going Forward

If you’re new to audio production, this all might seem a bit overwhelming at first. Like anything else though, familiarity comes through practice.

Find the setup that works best for you and the equipment you have, take a picture of it, then try setting it up and taking it down again a few times.

Practice recording interviews initially with friends, instead of diving right in to interviewing someone for your podcast.

Always keep in mind two questions when setting up to record.

1. Where is the audio coming from?
2. Where is the audio going?

And finally, here’s some useful links for you…

Don’t want to use a mixer after all? There are other ways to record online calls and podcast interviews.

In the market for a mixer? Check out our best podcast mixers roundup.

Want to know more about all the equipment side of things? Here’s our guide to finding the best audio cables.

The Samson MXP124FX (Or UK Link) is a USB or digital mixer, which is part of the company’s MXP range. It has an analogue alternative in the form of the MXP124 for those who don’t want to work directly into a computer.

There are also bigger versions of both, with more inputs/channels – the MXP144 and the MXP144FX.

Each model has more similarities than differences, but it’s the MXP124FX that we’ll be taking a look at in this review.

Why Might I Need a Mixer?

Firstly, you don’t need a mixer to podcast, but there are a few good reasons why you might want one.

They’re really handy for recording Skype and other types of calls, either directly into your computer, or into your digital recorder (or both).

It also gives you the option of adding multiple mics, which can come in handy if you have guests or co-hosts.

Not only that, but you can record your show “as-live”, playing your music and effects in real-time. This can save you adding everything in later on, during post-production.

If you’re recording with someone over Skype, you can set up a mix-minus so that they can hear all the music and effects too – giving the episode a real “live radio show” feel.

There are a lot of buttons and dials on mixers, which can make them confusing at first.

But don’t worry! The good news is they all pretty much work in the same way, so once you’ve used one you’ll generally know what you’re doing.

So what are all these different controls, features, inputs, and outputs on the Samson MXP124FX?

Mono Inputs

There are four MDR (Maximum Dynamic Range) microphone preamp channels on the mixer. Each has the option to take an XLR input, or a 1/4″ TRS input.

Two of these channels have built-in compression dials, giving you the option to apply compression during your recording, as opposed to later on in post-production.

These four inputs have their own independent gain controls for setting your mic’s sensitivity, as well as individual volume faders along the bottom.

There’s a High Pass Filter button on each channel that gives you the option to cut off frequencies below 80Hz. This is handy for preventing low rumbling sounds or wind noise from creeping into your recordings, depending on where it is you are at the time.

You might want some more detailed and flexible control over your audio frequencies though, in which case there’s a three band EQ on each channel. This means you can boost or reduce the low, mid, and high frequencies in your recording.

The FX dials can be used to increase or shut off the amount of signal being sent from each channel to the audio’s destination (eg; your computer or digital recorder).

There are also panning dials, which you can use to send each signal to the left or right of a stereo recording.

Each channel has an LED light to alert you if your audio is peaking, so that you can adjust your levels accordingly.

Stereo Inputs

There are four stacked stereo channels which take 1/4″ stereo Y inputs. This is where you would feed in audio from another source, like a computer or smartphone.

These channels have a few of the same features and controls found in the mono versions. An FX send (which comes in handy if you want to do a mix-minus), panning and levels dials, as well as the LED peak lights.

There’s also a set of RCA “Tape In” ports for bringing in audio from CD or MP3 players, computers, Hi-Fi systems, and general consumer-level equipment.

Outputs

Now that we’ve looked at the various ways to send audio in to the mixer, what are the options for bringing it back out and sending it to your digital recorder or editing software?

The Samson MXP124FX is a bi-directional USB interface, meaning it can send audio to your computer via the USB cable itself.

The 1/4″ FX Send port (AKA Auxiliary Out) will also send audio out. Normally this would plug into your computer’s 3.5mm mic input.

There are also two sets of 1/4″ stereo out ports titled “Main Mix” and “Mix 2”, so you can hook your mixer up to a set of monitors and a digital recorder (with two combo ports) at the same time. Or you might want to have two sets of monitors hooked up in different rooms.

There’s another 1/4″ out specifically for headphones, and the RCA “Tape Out” can be used to send audio to the same devices listed when we talked about the “Tape In” ports.

You can control where a signal is being sent to by pressing either (or both) of the Tape/USB buttons “To Mix 2 + Phones” and “To Main Mix”.

With regards to multitrack recording in your digital audio workstation (DAW), the outputs are routed from the mixer’s master channel, meaning it sends out a stereo signal as opposed to discrete outs from each channel.

Recording a Skype Call

If you want to record a Skype call directly into your DAW (Audacity, Audition, etc) there’s one wee thing to be aware of.

You want to set the mixer (usually listed as USB AUDIO CODEC) as both the input and output inside your recording software.

However, in your Skype preferences, you only want to set it as your input, and not as your output. Set your output as your computer’s audio driver (eg: Realtek) instead.

This means you can send the audio from Skype into one of your stereo-in channels and pan it to the left or right, before panning your own mic in the other direction.

Your call will then be recorded on opposite sides of a stereo track, giving you a lot more control in post-production.

If you have your Skype output set as the mixer, the Skype audio will travel there via the USB cable instead. This means the audio from the computer/Skype would record on both sides of your stereo track.

Other Features

The Samson MXP124FX has a +48v phantom power button for powering and using condenser microphones.

The mixer also has 100 24-bit low noise digital effects built in to it. These give you the option to add effects (reverb, etc) to your audio as you record. There’s an on/off button to activate the effects mode, and a dial to toggle through each one.

Price

At time of writing, the Samson MXP124FX is available, new, on Amazon $150, and Amazon UK for £150.

Sound Quality

I recorded two sound samples, one with the Shure SM58 dynamic mic, and one with the AKG C214 condenser mic.

I have normalised both files, but applied no effects, cleaning, post-processing, etc.

Dynamic Mic Sample

Recorded with the Shure SM58

Condenser Mic Sample

Recorded with the AKG C214

Summary – The Samson MXP124FX

This is a nice, robust, portable interface. Like any Samson product I’ve worked with, there’s a noticeable level of quality and attention to detail in there.

It’s a good option for someone looking to buy their first mixer, though the lack of multitrack recording options is something that should be taken into consideration first.

However, when it comes to solo, co-hosted, “as-live” or Skype interview shows, the Samson MXP124FX (Or UK link) will serve you well, for sure.

Still shopping around for the right mixer though? Check out our best podcasting mixers roundup for more great options.

The Yamaha MG10 is a very affordable ($149/£112), compact, ten channel analogue mixer. We’ve been using one at The Podcast Host for the best part of a year now, and it’s a pretty integral part of our kit. In this review I’m going to talk through some of its features and specs, and why it might be worth adding to your own podcast recording setup.

Who Would Use The Yamaha MG10?

Most mixers are predominately designed for music and musician use, and the MG10 is no different. However, bringing a mixer into your podcast recording setup can have a lot of benefits. We’ve talked about this extensively in our best podcast mixers article, but let’s look quickly at two of the big benefits.

First, you can drastically cut down your editing time by doing your show “as live”. This is where you bring in your intro/outro music along with all other music beds, bumpers etc during the recording, rather than edit them in later.

On top of this, you can also use your mixer to record Skype/Hangouts interviews in a ‘Mix Minus’ setup, where your co-host or interviewee will hear all the music and effects as they play throughout the episode. It’s almost like turning your podcast into a live radio programme, and this can have a positive effect on the flow and tempo of the discussion.

Where Would You Use The Yamaha MG10?

The MG10 is a small and portable mixer, on top of this it looks and feels pretty durable. They’re built to survive a life on the road with a musician or band, so you can transport it in your bag to any events or conventions to do a bit of location recording without much worry.

That said, the MG10 is also every bit as useful as part of a more permanent recording setup at home or in your studio. It won’t take up a lot of room, and can be easily tidied away and stored if need be.

Features & Setup

There’s 4 XLR mono inputs and 3 stereo inputs on the mixer. Channels 1 and 2 (both XLR) have their own compression dials to allow you to level out the signal on one or both of these inputs during recording.

You can apply a high pass filter to each of your 4 mono channels at the touch of a button, which will cut out all frequencies under 80Hz. This might come in handy if you’re recording with a co-host who keeps talking too close to the mic and popping frequently.

The MG10 has a phantom power button to operate condenser microphones, as well as auxiliary options to connect to external effects units.

You can connect the MG10 to your computer to record straight into your DAW, but it isn’t a USB mixer. We often record with the mixer straight into a Zoom H5, which creates a great stand-alone system. Or, if you want to record into a laptop, you can output from stereo 1/4″ jacks to one 3.5mm microphone input with the right cable.

What Does It Cost?

A brand new Yamaha MG10 costs $149 on Amazon and £112 on Amazon.co.uk. Just bear in mind that you will need some additional equipment to get the best from it.

Sound Sample

This sound sample was recorded with an MXL 990 microphone, through the MG10, into a Zoom H5 digital recorder.

I think the Yamaha MG10 has the best noise floor I’ve found for this price. There’s very little of the background hiss you often find in the cheaper Behringer units, and every recording I’ve done has been crisp and clear. This unit, for me, is now the best mixer you can get around the £100 mark.

Summary

If you’re running a solo show with few additional segments or transitions, and recording with a USB mic directly into your computer, then there’s really no need to get a mixer like the Yamaha MG10.

But if you’re bringing different elements into your show, including a guest or co-host (either online or on location) then a mixer can come in really handy. And if you need a mixer at this price level – around £100 or $150, then the Yamaha is the best I’ve tested. On top of that, the MG10 is small and won’t take up much space, wherever you want to record with it, or store it.

At $149/£112 it’s an affordable bit of gear, but if you don’t have any XLR microphones yet, that’s going to add to your costs. All things considered though, the Yamaha MG10 is a great addition to any home studio or recording setup.

For more reviews on mixers, mics, and recorders, check our full podcast equipment guide. To learn more about the nitty-gritty of podcasting technology, you’ll find all kinds of courses and resources in Podcraft Academy.