I’m not an engineer, so creating my DVD, “Depression What You Must Know,” and my Podcast, “Psychiatric Secrets Revealed with Dr. Mike” involved a lot a research and learning.  The information listed below is a compilation of that work.  I hope you find it helpful.  Mike Kuna

The bottom line is that any type of microphone will work just fine for your Podcast.  You just need to find one that suits your particular needs.


It is important to remember that certain factors can make a quality microphone sound terrible or a cheap microphone sound good.  Let’s take a look at some of those factors.

Location, location, location!
Where are you going to record your Podcast? Most of us don’t have a sound-proofed studio and we have to deal with recording in the “real world.”  Here are some suggestions:

1. Record during a quiet time, early in the morning or late at night.  Sounds that your brain filters out (like a TV in the background) are still heard by the microphone.

2. Choose an interior room to avoid street noise.

3. Silence chime-type clocks, telephones and other noisemakers.

4. An acoustically quiet room, like a living room, is better than an acoustically live room, like a kitchen.  The hard surfaces of the kitchen bounce and reflect sound waves creating a hollow/echo effect.

5. Don’t use other noise sources like fans, washing machines and unnecessary computers when recording.

Directionality
Microphones come in two varieties, omni directional and directional.  Omni directional mics pick up sounds well from all directions.  They are great when you want to record several people with only one microphone and they may add an open quality to the sound recorded.  However, this quality also makes them more prone to pick up other noises (like your computer’s fan).  In addition, when recording in an acoustically live room an omni directional microphone can have a hollow sound.  

Many Podcasters prefer using a directional microphone (also called cardioid). These microphones pick up sounds better from their front, reducing some background sounds. They are less desirable in “man on the street” type interviews as passing a cardioid type microphone between two people can add “pumping” to the audio.  In addition, cardioid type microphones have a “proximal effect” where low (bass) frequencies are boosted when you talk very close to them. Hyper-cardioid microphones are even more directional.  These types are microphones are sometimes called “shotgun” mics since you have to point them towards the subject to be heard.  Hyper-cardioids are also used in public address systems as their strong directionality makes them more immune to acoustic feedback.

Another type of directional microphone has a figure 8 pattern.  It picks up well from the front and the back, but less from the sides.  Although these mics could be used for shows that have two hosts (and only one mic), they are rarely used in Podcasting.  

Some headset type microphones are called noise-canceling.  These microphones have an additional microphone element that sense the ambient noise and electronically neutralizes some of it.  These types of microphones are useful in very noisy situations (such as sporting events).

Technique and other mechanics
Professional broadcasters are “one with the microphone.”  They keep a constant distance from their microphone and they minimize handling.  Most microphones like it when you are between 6-12 inches from them.  Getting closer (especially with cardioids) can give you an artificially boosted low end or result in popping noises called “plosives” when you say words with a lot of “p” sounds.

It is often useful to isolate the microphone from noise generating objects. Using a desk stand or floor stand is better than holding a microphone.  Using a “shock mount” either purchased (expensive) or homemade (made by supporting a microphone with rubber bands strung across notched PVC tubing) can also isolate your microphone from noise. Simple options, like placing your microphone stand on a foam mouse pad can significantly reduce vibration type noise.
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Dealing with “plosives”
Plosives are those annoying popping noises that are generated when your microphone encounters a burst of air, for instance when you say words with a lots of “P” sounds.  Unfortunately, it is almost impossible to eliminate plosives after-the-fact (post production) so the best options is to try to eliminate them when recording.  I have to admit that plosive sounds have crept into some of my broadcasts.  So much for a production that is often recorded at the dinning room table!  With that said, less (or none) is best.

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