What Is The Best Podcast Equipment In 2022?

You’ve probably seen this mic somewhere – The very cool (no pun intended) Blue Snowball Ice has become a standard of sorts for video productions and podcasts alike, delivering quality audio free of digital signal processing (DSP) for an impressively low price. While it cannot compete with the other microphones on this list, it is inexpensive enough that you can buy several of them for the price of a single higher-tier alternative. And if you pay attention to mic placement and technique, you can get good results.

The MV7 takes design cues from Michael Jackson’s legendary SM7 microphone, but adds the option for USB connectivity. If you don’t need USB functionality and can afford it, getting a real SM7 is probably the better option. However, few mics that sound as good as the MV7 are as versatile—one it’s of the few with both XLR and USB outputs. In testing, it produced high-quality vocal audio that didn’t require processing, but you can always clean up your recordings with the Shure Motiv suite of EQ and compression tools.

Because of its low cost, the Rode PodMic is a simple XLR workhorse that is ideal for multi-speaker podcasts. The audio is relatively uncolored, and though you may want to add a bit more crispness to the high-mids or dial back the lows slightly in the post, the initial signal is clear enough that this is not required. And, because the built-in pop filter works quite well (as long as your recording subject vocal has good mic technique), you probably don’t need an external one.

The metallic screen of the Royer PS-101 should be the first clue that this is no ordinary pop filter—the louvered metal redirects air passing downward, and the filter itself disperses plosives in a natural-sounding manner. Sure, all pop filters disperse plosives in order to protect the mic’s capsule, but some of them are a little louder than others. The PS-101 is both audibly and visually transparent; for precision vocalists, the ability to see the mic through the filter can be a huge benefit. Royer designed the PS-101 to be a perfect complement to its ribbon mic lineup. However, the pop filter works well with almost any mic with which it is paired.

A studio arm allows for quick, quiet mic adjustments, frees up desk space, and, let’s face it, looks cool. Vocalists can move the mic with the Rode PSA+ while it’s life, and as long as they use a gentle touch, the mic should pick up no sounds or vibrations. It can handle almost any microphone weight, from very light to very heavy, and it also makes cable management a breeze. Choose the new PSA1+ over the original PSA1; the former has several improvements that allow for more graceful movements.

The Beyerdynamic DT 700 Pro X headphones are our top choice for premium studio over-ears; they’re exceptionally comfortable for long listening sessions and deliver accurate audio with a focus on clarity and balance. They don’t exaggerate the bass or the highs. So, if a track has deep bass, you’ll hear it exactly as it is. The headphones also block out ambient noise passively and don’t leak much audio, making them ideal for podcast equipment used for recording and mixing.

Sennheiser HD 280 Pro headphones have been a recording studio staple for decades. And they are our go-to recommendation for tracking and mixing audio on a budget. The earpads feature generous cushioning, and the thick, semi-coiled cabling is sturdy. The pair stays in place for musicians (or podcast hosts) who move around during recording. These over-ears are an excellent value if you need to hear the audio clearly and precisely in the studio.

If you want to record audio to your computer and don’t want to use USB microphones, you’ll need to add an audio interface to your setup. The Focusrite Scarlett 2i2 is well-built, simple to use, and produces high-quality, transparent audio. Its two XLR inputs also function as quarter-inch instrument inputs, allowing you to record synths and guitars directly. Furthermore, an Air button enables brighter, crisper vocals, while you get separate knobs for monitoring volume and headphone levels. For those interested in trying out one of the industry’s standard audio editing suites, Focusrite also includes a beginner version of ProTools.

If recording to ProTools or GarageBand is too complicated for you, an all-in-one recording system like the Rodecaster Pro may be a better fit. This mixer has four mic inputs and works with both XLR and USB microphones. And even has Bluetooth channels for remote guests to be looped in, it still works. It also includes built-in sound effects and is simple to use. It also looks good on a desktop.

Most USB microphones come with cables, but most XLR microphones do not. As a result, if you intend to record with a high-quality XLR microphone, you’ll need a high-quality mic cable. If cables are your thing, you can spend a lot of money on them. But Mogami cables strike a good balance between performance and price—a 6-foot cable costs around $60. This cable has gold-plated Neutrik connectors and can transmit audio cleanly, clearly, and reliably.