Main Buyer’s Guides for Microphones

Making sure you have the right tool for the job is true in all walks of life, but it’s particularly important when it comes to microphones. Not all microphones are built equally and while they may all record sound, they do so in completely different ways. Making sure you’ve got the right mic for the right situation is crucial as the best content can quickly become the worst if your audio is out of whack.

With so many different kinds of mics available and lots of crossover between them it’s not always easy to know where to start when it’s time to go shopping. I have pulled together this guide to help you along. We’ll dive into the basics of how microphones work, the differences between types and how to identify the right microphone for your needs.

Primary Types of Microphones

Make the wrong choice here and it’ll all be an uphill battle towards usable audio, let alone great recordings. But pick correctly and you’re already halfway there. Thankfully, at a broad level these types are all quite different and it’s not usually too hard to work out which one you need. Let’s take a look.

Dynamic

Dynamic microphones are the most common type you’ll find. Think of it as the great all-rounder. You’ll have seen them in front of singers, podcast hosts, and stand-up comics. When you close your eyes and picture a microphone, there’s a good chance it’s a dynamic one. These are a super versatile option as they don’t require external power, they’re great at rejecting background noise, and because they’re not particularly sensitive they’re tough enough to survive drops, loud volumes, and a little rough handling.

Dynamic microphones are the go-to option for live performances, TV broadcasts and voice recording in less-than-perfect environments as they focus on the sound from right in front of them and ignore the rest. If you’re looking to capture sound from people or instruments and you’re not in a proper recording studio, a dynamic mic is likely your best bet.

Condenser

When you need maximum detail and audio quality, and you have the setup to accommodate their fussy nature, condenser microphones are the way to go. You’ll find them in recording studios, voiceover booths and livestream setups, anywhere sound quality is king and the environment can be controlled. These mics are much more sensitive than dynamic options and capture the full spectrum of sound with full accuracy.

Because of this though, condenser microphones do need a bit more care and attention. They’re not as rugged as a dynamic microphone, and they usually require phantom power from an audio interface or mixer. Condenser mics shine in quiet, controlled environments and are often the mic of choice for vocals, acoustic instruments, and professional content creation.

Shotgun

You’ll most often find a shotgun microphone attached to or hovering near a camera. That long, skinny mic with the fuzzy cover you see being held on a boom pole? Shotgun mic. The little carrot-shaped tube mounted on top of a DSLR? Also a shotgun mic.

They’re a staple of video production because they capture focused audio, can capture it from a distance and work well in outdoor or on-location shoots. If you’re recording away from a controlled, fixed setup, a shotgun microphone is probably what you need.

Lavalier

The smallest microphone of the lot, lavalier microphones (often called lav or lapel mics) are the ones you’ll usually spot clipped to someone’s collar in an interview. Think of the little black dot you often see on the edge of a news presenters’ tie, that’s a classic lav. These days wireless lavalier mics have become a staple in low-budget content creation for social media. The small black box you often see in TikToks and Instagram Reels is the RODE Wireless GO — a new spin on the lav mic that combines everything into a single unit.

They’re loved for being hands-free, discreet, and because they can be positioned close to someone’s mouth, they’re great for capturing clean dialogue on-the-go or in interviews or presentations. If you need clear voice audio without holding or pointing a mic — especially while moving around — a lavalier microphone is likely your best bet.

Key Specs Explained

Whichever microphone type you’re in the market for, as soon as you start shopping around you’ll come across a range of technical terms and specs. If you’re new to audio recording these may not make much sense at first, but they’re a great way of pitting one mic against the next if you know how to translate those details into reality. Let’s break down what to look out for in the key technical specs of a microphone.

Frequency Response Range

To understand the frequency metric we first need to grasp the fundamentals of how sound works. At its most basic level, sound is a series of vibrations travelling through the air which are then interpreted by our ears and ‘converted’ into sound.

This happens across a spectrum with different speeds of vibrations. Slower vibrations are the low, deep rumbles of bass with fast vibrations becoming higher-pitched sounds.

For a microphone, frequency response is a measure of how much of that sound spectrum a microphone is able to pick up. Basically, how well it hears low rumbles, midrange tones, and high-end detail.

It’s measured in hertz (Hz), and you’ll usually see this shown as a range like 20Hz–20,000Hz, which is the frequency range we’re able to hear as humans. If a microphone lists 20Hz-20kHz as its frequency range, then you know it’s able to record everything you’ll be able to hear when playing it back.

It may not always be listed on a product page, but keep an eye out for reviews or discussion that mentions the shape of a microphone’s response too. A flat response means the mic picks up everything equally, while a shaped response might boost or cut certain frequencies to tailor the sound from a specific source, like vocals compared to drums.

For example, microphones designed primarily for vocals will often have a gentle lift in mid-range frequencies to bring clarity and presence to the human voice, while reducing the real low end to avoid rumble and unwanted environmental noise. Bass drum mics on the other hand will likely do the opposite. Here, you’d expect to see a dip in the mid-range and a boost to the low end for added punchy depth.

Sensitivity

A microphone’s sensitivity metric is a little more obvious to understand in theory, though the actual numbers can sometimes bring in a little confusion. It’s as simple as it sounds, microphone sensitivity covers how well a microphone can convert quiet source sounds into a strong electrical signal or output.

A more sensitive mic picks up quieter sounds more easily, while a less sensitive mic needs louder sound initially or more gain to get that sound to the same output level. You’ll see two metrics to measure this and they’re interchangeable, it’ll either be measured in millivolts per pascal (mV/Pa) or decibels relative to 1V/Pa (dBV/Pa).

Condenser microphones are typically more sensitive than dynamic mics which is why condensers are better at capturing subtle vocal details or the characteristics of a recording space.

Dynamic mics on the other hand, will generally have a lower sensitivity, making them a great choice for loud sources and noisier environments. If you’re recording podcasts, voiceovers, or acoustic music in a studio space, higher sensitivity is usually helpful. But in louder or uncontrolled environments, too much sensitivity can actually work against you, picking up every unwanted rustle, tap, or background hum.

So sensitivity isn’t a simple case of better or worse, it’s more about making sure a microphone’s sensitivity aligns with what’s required for both your intentions and your environment.

For recording vocals or podcasting, a more sensitive condenser mic around -35 dBV or 15 mV/Pa is a good fit as it’ll give you a strong signal without needing to crank your preamp or bump things up in post.

For trying to capture live sound, or loud instruments like drums, lower sensitivity down to -60 dBV is probably better to avoid clipping or distortion. The same is true for live streamers, don’t underestimate just how loud your mechanical keyboard is and how distracting that can be to your viewers.

A super sensitive microphone might seem like a good idea to maximise the sound of your voice, but this can be quickly ruined if it’s picking up too many unwanted additional sounds. Look for something around -40 to -45 dBV as a good middle ground.

Impedance

Impedance is where things get a bit more technical, but thankfully it’s also probably the metric that you need to worry the least about for casual or even semi-professional situations.

Impedance is the resistance a microphone offers against the flow of electrical current, and it’s measured in ohms (Ω). Low-impedance mics are generally under 600 ohms and this standard for most modern gear. These kind of low-impedance mics are designed to work well with most mixers, interfaces, and recorders. High-impedance mics are less common these days, with resistance above 1,000 ohms Ω they can cause signal loss and other issues over lengths of cable.

So should you care about impedance when choosing a microphone? Not overly, because you’ll quickly find that almost every modern microphone and audio interface is built around low-impedance designs that are compatible with each other right out of the box. Where impedance can still matter when you’re sending your signal over a particularly long length of cable, but we’re talking 50ft or more at this point.

So, realistically unless you’re going deep into vintage gear or setting up a particularly long or unusual cable run, impedance is more of a double-check metric than one to focus on. Just save yourself some hassle and stick with low-impedance mics under 600 Ω.

Polar Patterns

We’ve covered the characteristics of different microphone types and the nitty gritty of more technical details, but there’s another very important element to choosing the right microphone for your needs — polar pattern.

You’ll also see this referred to as pickup pattern, and it explains where your microphone is looking for sound and perhaps more importantly, which directions it’s ignoring it from. There’ll be minor differences in polar patterns from one microphone to the next but generally they’re divided into four main categories.

Cardioid

Consider this the default pickup pattern. It’s a great all-rounder and it’s going to meet the needs of most people in standard situations. Looking a bit like a mushroom, a cardioid polar pattern picks up sound from the front in a bulb shape while rejecting it from the back.

This makes it a great choice for streaming, vocals, and podcasts because it isolates your voice while blocking out things like keyboard clatter or other voices sitting across from you.

Supercardioid and Hypercardioid

As the name suggests, these are the cardioid pattern’s more focused siblings. They follow the same basic concept, but pick up sound from a narrower area in front of the microphone. This is ideal for isolating your voice in noisy rooms, but be aware that these kinds of microphone will also grab a small amount of sound from directly behind the mic too.

For streamers facing a monitor this won’t be a problem, but it could cause duplicated audio if you try to run two supercardioid microphones back to back in an interview setup. You’ll also need to be more aware of directly addressing the microphone as quality and strength will quickly fall away off-axis.

Omnidirectional

Another one with a giveaway of a name, this polar pattern is about collecting sound equally from all directions — front, sides, back, everywhere. It’s great for recording group conversations around a table or including more ambient environmental sound when you’re trying to capture a more natural, and less-produced feel.

Because it’s drinking in sound from all angles however, it’s not well suited to noisy environments, so you’ll want to exercise a little caution when choosing a microphone with this pickup pattern.

Bi-directional

The least common of the major polar patterns, the bi-directional or figure 8 pickup pattern collects sound from both the front and back, but rejects inputs from the sides. It’s handy for face-to-face interviews or duet vocals where two people are across from each other but has limited general uses, so you won’t find too many mics rocking this polar pattern.

Mounting and Positioning

Choosing the right hardware to begin with should obviously be your number one priority, but there’s no point having a perfectly-suited microphone if you end up using it in entirely the wrong way. Your environment, setup and microphone etiquette are all vital pieces of the puzzle to ensure you sound your best.

Mounting

There isn’t a one-size-fits-all mounting option that’s true for all microphones, but there are a few universal truths you’ll want to stick by. I’m going to speak broadly here to help you off on the right path but there’ll be an element of experimenting and finding what works best for your situation.

In most scenarios, and regardless of your mounting solution, your goal should always be to minimize movement and vibrations through the mic as much as possible. You want to isolate the microphone, allowing the capsule to collect clean sound without interference from bumps and knocks.

In a desk setup you could use a weighted stand or small tripod, some streaming-focused mics will even include one in the box, though a suspended mic arm will generally offer more flexibility.

Lavalier mics are less prone to disruption from movement and vibrations. Instead, you’ll want to avoid contact from things rubbing on the microphone directly. Try to attach the mic to firmer, more rigid items of clothing and away from free flowing fabric or long hair that may create distracting rustling sounds.

Shotgun microphones are super sensitive and can easily be disrupted by jostling and unwanted vibrations. A shock mount is essential here, regardless of whether it’s going to be mounted on a fixed, weight stand or held aloft on an extended boom pole.

Etiquette

Once your microphone is in position, equally important is to ensure you’re using it correctly. This is known as microphone etiquette and it’s as simple as understanding how your mic would like to be spoken to and giving it what it wants. Exactly what those needs are will vary a little from one mic to the next, particularly based on the polar patterns we discussed earlier, though once again there are a few universal truths too.

Address it correctly

Each mic will have a specific side to speak into where you are directly delivering sound to the capsule. The two main options are end- or front-address and side-address. One isn’t better than the other, it’s purely an aesthetic design choice by the manufacturer but it’s vital that you identify which your microphone is and that you follow it.

It’s generally not hard to work out, look for open grilles or even a brand logo to signify which side is which. A lot of good recordings have been ruined by accidentally speaking into the wrong side so make sure to get it right before starting!

Different microphones will also prefer a different angle of address. As condenser microphones are much more sensitive it is often a good idea to speak slightly off axis and talk ‘past’ the mic rather than directly into it. This can help reduce distortion from harsh plosive and sibilance sounds.

Dynamic microphones on the other hand will benefit from being directly spoken to and don’t need to be angled.

Lavalier mics are slightly different again as they’re often positioned to the side, they’ll want to point towards your mouth but not be placed in front of it, while shotgun mics need to point directly towards their target to be most effective.

Don’t eat it

With the exception of shotgun microphones, you’ll want to keep your mouth reasonably close to your mic at all times. For condenser and dynamic microphones, a simple trick is to make a hang ten gesture with your hand and use that as a measure of a good starting distance between mouth and mic.

By getting too close to the mic you risk introducing distortion through peaking (where the input goes beyond the maximum recording capability of your setup and is clipped off, causing frankly terrible sounding audio). Lavalier microphones can afford to get a little closer, but still aim to keep things around a fist-width away.

Understanding Extra Features

We’ve covered the fundamentals of choosing between one microphone and the next at a broad level, and that should give you a solid basis to build a shortlist of options. You’ll quickly find a lot of similar models from different brands with matching spec sheets making things confusing once more.

To separate them you’ll often need to look at the range of bonus features and any required accessories before making a final decision. Let’s run through some of the most common things you’ll see.

Pop Filter

When you speak, little bursts of air fire out of your mouth and these can cause problems for your microphones capsule. A pop filter is a physical line of defence to protect against these bursts that generally originate from hard plosive words beginning with p, d, t, k and b.

Pop filter is generally a fine mesh screen that sits between you and the mic capsule to disperse those blasts of air before they can cause problems. Some mics, particularly those targeting home creators, will include internal pop filters while others will rely on external solutions.

Most big brands will offer specific pop filters for each microphone that neatly clips on, but there are also a range of universal third-party options too. While not technically required, I’d highly recommend running with some sort of pop filter protection.

Shock Mount

We’ve talked about making sure to mount your microphone correctly and a shock mount is often the final piece in that puzzle. Think of it like a hammock for your mic, a way to suspend it out of harm’s way from bumps, knocks, and general desk vibrations.

Without one, a single bump of your knee under the desk could ruin a recording so they’re well worth investing in. Much like pop filters, some mics will include one as standard, some brands will sell dedicated mounts for each of their models, and some will need you to pick up a universal option. Again, this isn’t absolutely necessary, but is well worth investing in if you’re serious about clean audio.

Phantom Power

This one you won’t have a choice in, if your microphone requires phantom power it simply won’t operate without it. This is usually supplied by your audio interface or mixer via the same XLR cable it receives a signal back from, so double-check your gear supports it if you’re going that route. This only applies to condenser and most shotgun microphones running over XLR. However, dynamic mics or condenser mics connected via USB don’t need phantom power at all.

Amplification

Earlier we went over the sensitivity metric you’ll see on spec sheets and amplification is how you boost those quieter, low sensitivity microphones. This can happen either via a preamp inside the microphone itself, or via an external audio interface but it’ll need to happen somewhere as skimping on a decent amplifier can leave you with weak, noisy recordings.

Monitoring Jack

Ever noticed how radio hosts and podcasters almost always wear headphones? This isn’t just so they can hear guests or producers, most of the time they’re hearing their own voice played back to them too.

This is called monitoring and it can be an important part of your setup. Because you’ll quickly trip over your own words if your playback has any kind of delay, many microphones include an onboard monitoring headphone jack that lets you directly listen to what your mic is picking up in real-time and catch any problems as early as possible.

This won’t be necessary in all situations and some creators may find it offputting so decide whether it’s an important feature to you. If you have your heart set on a microphone that doesn’t offer an onboard monitoring jack, all isn’t lost. Many audio interfaces will provide this functionality so you can intercept the signal just a short step down the path.

XLR or USB?

This is a question that has been hotly debated in recent years and people tend to have pretty strong opinions on which is the better option. Each has its perks and quirks though and there isn’t a clear winner as there are a range of factors involved depending on your setup, budget, and how serious you are about absolutely maxing out the quality of your sound. Let’s break down the pros and cons to help you choose whether to go for a USB or XLR microphone.

XLR

Pros

• Professional-grade audio quality — You’ll find professional setups always running XLR microphones as they deliver the cleanest, highest-quality sound.
• Flexibility — Compatibility is delivered via the XLR cable which is a standardized element, so your microphone can connect to a wide range gear from any brand.
• Better for complex setups — If you’re running a recording with multiple devices you’ll often find it far simpler with a set of XLR microphones plugging in to a single, multi-port mixer or interface.
• Simpler upgrade path — Because it’s all compatible, XLR setups are wonderfully mix-and-match. You can easily start small and simple before swapping out and upgrading different elements one by one without needing to buy everything again or at the same time.

Cons

• Requires additional hardware — An XLR microphone on its own won’t do you any good. To go this route you’ll also need to invest in an audio interface or mixer, and likely BYO cable too, which can quickly add to the cost and complexity.
• More complex setup — More pieces in the puzzle means more setup time, more cables to manage and a bigger hardware footprint. Not ideal if you’re trying to fit everything on your streaming desk at home.
• Can be bulkier and less portable — While not always the case, XLR microphones and their matching interfaces can often be heavier and less portable. Plus, if you’re moving between setups there’s a lot more to carry around and piece together.

USB

Pros

• Plug-and-play — USB microphones are a single cable affair, just plug it into your computer and you’re ready to record, no extra hardware or cables required.
• Compact and portable — USB microphones tend to be smaller overall and this small size makes them easy to take on the go with simple setup when you get there.
• Better for beginners and casual creators — If you’re just starting out or not looking to take things too seriously, USB mics are considerably less fuss and more forgiving for newcomers.
• Flashier designs — There are always outliers, but generally you’ll find more eyecatching designs on USB microphones as they target streamers and content creators looking to show their microphone on camera.

Cons

• More limiting — Simplicity works both ways, while it’s great to get started it can also restrict you as you look to develop your setup towards something more professional.
• Little to no upgrade path — Beyond perhaps adding a shock mount or pop filter, the USB mic you take out of the box is what you’ll have until you replace it. There’s no way to add in new parts of your setup to improve certain aspects.
• Not great for complex audio setups — While this is becoming less of an issue, PCs can often struggle to cleanly handle multiple USB audio inputs at once.
• App reliant — USB microphones will often need the assistance of accompanying apps to maximize their quality. This isn’t an issue as such, but it’s something else that needs maintaining and a point of failure in the future.

Should you use post-processing software?

This is another commonly asked question but here the answer is more defined and simple. There’s no harm or shame in using post processing to make good audio great. That is the key distinction however — post-processing software shouldn’t be seen as a solution to fixing bad raw audio, only as a way to clean up, polish and boost well captured sound.

Think of it like seasoning in cooking, a sprinkling of salt and pepper at the end can really lift the finished dish if the basics of it are well put together — but you can’t fix an overcooked steak by covering it in salt. Hopefully everything we’ve covered so far will stop you from overcooking your microphone-shaped steak, now let’s look at some additions to really make things sing.

If you’re using a USB microphone from a well-known brand, chances are they’ll have their own app with a simple UI and probably a few presets to choose from too. This is a great place to start and a lot of the time, one of those presets might be all that you need.

If you’re going to rely on adding your own post-processing in a recording app, or you want to dive deeper into what your microphone’s own software can offer, here’s a little breakdown of what each of the basic options can do.

Noise reduction

These filters come in a few different forms with many modern apps using AI to cut out unwanted background noise completely. If this isn’t an option or your recording PC isn’t up to it, you can try adding a Noise Gate and/or High-Pass Filter to soften these distractions. A Noise Gate stops anything below a certain gain level being recorded, while a high-pass filter turns down low frequencies to remove rumbly atmospheric sounds.

Normalize Your Sound

If your voice is the main event, you might just want to sand off the rough edges to sound your best. A De-Esser filter is a good option here as it reduces the impact of harsh ‘ess’ sounds, while a Compressor will normalise your audio volume and stop you peaking if you get a little animated.

Dial In

EQ is the most common way to lift your audio to another level and it’s well worth playing around with different levels across the frequency spectrum to really gain an understanding of what each does. Everyone’s voice is different so you’ll need to experiment yourself, but in general boosting mid-range frequencies will make you sound more full-bodied and richer, while boosting higher frequencies will add a crisper, sharper edge.

Brands and What to Expect

When you’re choosing a microphone, the brand you go with affects your experience long after the purchase. Things like customer support, warranty coverage, parts availability, and overall reliability vary more than you might expect. Here’s what you can generally expect from the most talked-about mic brands, based on user experiences, forums like Reddit, and manufacturer policies.

• Audio-Technica is one of the more reliable brands when it comes to long-term support. Many of their microphones come with an unusually generous 15-year warranty in the EU, which covers manufacturing defects and includes free parts and labor. They’re regularly praised for their fast and friendly repair service—some report turnaround times under 10 days and even free repairs out of warranty. If you value low-hassle ownership, they’re a strong pick.
• Shure, one of the most recognized names in live and studio sound, offers a standard 2-year warranty. Their gear is built to last, but when something does go wrong, the service experience can vary. They don’t offer advanced replacements or loaners during service, so downtime is something to consider.
• RØDE provides solid support across its range, especially if you register your gear. Most products start with a 1-year warranty, but many popular models—like the M1 dynamic mic or NT-series condensers—can be extended up to 10 years. Their repair process is generally straightforward, and they offer decent support for accessories and parts.
• DPA operates in the premium segment, mainly catering to professionals in broadcast, theatre, and high-end music recording. Their microphones come with a 2-year warranty, though some series extend to 5 years. Their service model is well-suited to pros: parts are available for repairs and upgrades, and their support network is built to keep critical audio systems running with minimal downtime.
• Neumann, another high-end brand, offers a 24-month warranty and handles service through certified global centers. Their reputation for precision and longevity is backed by reliable service infrastructure. They may not have flashy warranty marketing, but if you invest in a Neumann mic, you can expect long-term support and part availability for years.
• AKG, now under Harman’s umbrella, still maintains decent warranty terms (usually one to two years), though support is more centralized and sometimes slower depending on your region.
• Schoeps, a specialist brand known for its small-diaphragm condensers, offers excellent performance but relies more on pro-audio dealers and distributors for service and parts. It’s not as plug-and-play as mainstream brands, but for those in broadcast or classical recording, it’s worth it.
• Blue Microphones, popular for their USB mics like the Yeti and Snowball, is now owned by Logitech. Their warranties tend to be around one year, and support is managed through Logitech’s systems. This makes service relatively accessible, especially for consumers, though less tailored than the pro brands.

In general, brands like Audio-Technica and RØDE stand out for offering long warranties and easy repair processes. Neumann and DPA focus more on professional-grade reliability and long-term part availability. Shure delivers durable gear but can be inconsistent when it comes to customer service. Blue, AKG, and Schoeps sit in the middle—solid choices, but your experience will depend more on the specific product and where you’re based.

Final Thoughts

There’s a lot of moving pieces when it comes to recording great audio and buying the right microphone for your needs is the first and most important step. This is a balancing act with plenty to consider but hopefully you’ve now got a clear understanding of not only what each type of microphone is used for, but how to tell them apart based on spec sheets, what else you should consider before buying, and once you’ve bought one, how to get the most out of it.