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

Some microphones (like large diaphragm condenser mics) tend to be more prone to plosives than others.  Talking over (instead of at) the microphone can reduce these sounds as can positioning the microphone slightly above and to the side of the mouth.  Another useful option is to use a pop-filter.  This isn’t the small foam ball that is typically used to reduce wind noise (although large foam balls can reduce plosives).  A pop filter consists of a ring covered with a material that blocks the gusts of air but allows the sound to pass.  You can buy a commercial pop filter for about $25 or make your own using a coat hanger formed into a circle and covered with panty hose.  The pop-filter is placed about two inches in front of the microphone and is typically supported by a clamp to the mic stand.

Sweetening (modifying the recording)
Many different types of audio software contain effects (Fx’s) that can make your recording sound better.  Here are a few of them:

1. Noise reduction.  Gently applied this filter can really reduce unwanted noise like a computer’s fan from your recording.  This filter can make a huge difference in the quality of your Podcast.  Just don’t get too aggressive with the settings or you will wind up with “robot talk.”  Naturally, we are talking about minor noise, nothing is going to get rid of the sound of a 747 taking off next door.

2. Compression. This Fx evens out the volume of the recording giving it much more punch.  When used lightly it adds fullness to your recording.  When done at high compression settings you get the “big radio sound” familiar to anyone who listened to top 40 AM radio in the 60s and 70s.

3. Equalizer.  Basically a fancy tone control that increase or decrease the highs tones, mid tones and low tones of the recording.  You can take a thin sounding recording and give it more body or a bassy recording and thin it out.

4. Noise gate.  This allows sounds above a certain level to be heard.  Sounds below that level are muted.

Software sweetening is done “post-production.”  In other words after the sound has been recorded.  It is also possible to use hardware and adjust the sound on-the-fly. For instance, using a hardware based compressor.  This option saves time, but (naturally) you have to buy the hardware to do it.

As I mentioned earlier, different Podcasters have very different views on how expensive a microphone needs to be for Podcasting.  Naturally, very expensive microphones are great but I was also surprised to find that many inexpensive microphones perform very well too.  My observations were based on my voice, which tends to be average in tone and range.

I conducted the great “Kunaland Microphone Shootout” using a bunch of microphones that I had around or borrowed.  All microphones were recorded using a professional digital recorder with the exception of the USB Blue Snowball microphone which was recorded on a computer using Audacity.  All of the microphones use professional XLR cables and have a cardioid pattern unless otherwise noted. Ratings were based on the raw “unsweetened” audio file.  

For fun, I also took the raw files and did minor sweetening, usually using noise removal and a 2:10 compression.  On some I added a little equalization.  I found that these simple adjustments significantly improved the sound of many microphones.  

All sound samples were reviewed to on a desktop computer with a quality sound card (Audigy) and decent (Cambridge Soundworks) speakers.  

I’m not personally recommending any of these microphones, although I think any of them would be fine for Podcasting.  In addition, I’m sure that there are many other microphone that would work as well (or better) than these.  Also note that some microphone’s street price was based on purchasing them in a 3 pack (which can significantly reduce the unit price).

The Ratings!

1. Heil PR40 (street price $270) This dynamic microphone often compares favorably to the much more expensive Electro Voice RE20.  Sound recorded with the PR-40 was very natural, pleasant and even.  It was a pleasure to listen to.

2. Shure SM 58 and Shure SM 57.  (street price $100). These two dynamic microphones are really twins with the exception of the round mesh wind screen on the SM 58 which gives it a classic “ice cream cone” shape.  There is a small difference in their sound based on this one little change.  Both microphones delivered a very clean, even sound that was a bit thinner than the Heil PR-40 microphone.  

3. Heil Heritage (street price $130). This dynamic microphone has a wonderfully clean and clear sound.  Its bottom end is a bit thinner than its big brother (the PR40) and its high end is a bit

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