Top 8 Microphone Myths Exposed

There are microphone myths just like there are urban myths. And their longevity rivals Bigfoot, Nessie and that mysterious Roswell incident in 1947.

Right here, right now, we’re setting the record straight on mic folklore that we’ve continued to debunk over the years. Check each one of these off your list, and when the subject comes up (yes, it will come up), you’ll be the expert.

Mic Myths

1. There are wireless microphone frequencies that are completely free from interference.

False.  This is a myth that is being propagated by some pro audio manufacturers. The fact is there are no frequencies that are completely free from interference because there are no frequencies that are reserved only for wireless microphones. Even if there were, you could still have interference from other wireless microphones occupying that frequency band.

There are no “safe frequencies”.  All of the radio spectrum is allocated for different uses by different types of equipment. Every wireless microphone operates in a frequency range that contains other devices.  There is no exclusivity in the radio spectrum for wireless microphones.

Our advice: use wireless equipment that is as broadly tunable as possible.

2. Condenser mics are not as rugged as dynamics.

False.  In the days when this myth came into existence, condenser microphones were very expensive, studio-grade models.  The microphone they were compared to might have been a dynamic like the SM58®. If the ultra-expensive, circa 1930s vacuum tube microphone were dunked into a glass of beer or dropped on the stage ten times, or even one time, it probably would stop working. It will become a paperweight while the SM58 will survive all that.

Today, all of our condenser microphones are engineered to hold up to exactly the same abuse as an SM58. They go through the same exact environmental testing. Drop testing. Temperature testing. Humidity testing. Salt spray testing.  Vibration testing. Electromagnetic testing. They have to pass the same battery of tests, and they do.

The SM81 was introduced around 1978 as a studio condenser microphone. But because it is made from a machined steel handle and has the same sort of milspec environmental capability as the rest of our microphones, it was quickly embraced by the touring sound industry. There are SM81s out there on tour today that are probably fifteen or twenty years old. You can drive over them with a truck. Drop them on the floor. Hit them with a drumstick. And the same is true of all our condenser vocal mics.

So, in the modern era, the fragility of Shure condenser microphones is just a myth.

Shure ULX-D Wireless Mic with Beta 58 Cartridge

3. A louder microphone is better.

False.  Some microphones are more sensitive than others, but microphone sensitivity is not inherently related to quality. In musical applications, when a mic is placed very close to the sound source, the sensitivity of a microphone is not important. There’s more than enough signal even from a less-sensitive microphone to provide a PA system with an adequate signal.

If the microphone is overly sensitive, it just means you have to dial in more attenuation on the mixer channel so you don’t overload the mixer. If you’ve got a mic on a snare drum that’s 10 dB more sensitive than another mic on the snare, you’ll have to turn down the one that’s more sensitive.

Extra sensitivity is not related to the sound quality.  In the days when neodymium magnet microphones were introduced, it was a common demonstration technique to line up several microphones, connect them to a mixer and set each channel level the same. Each microphone was tested, and when it came to the neodymium magnet microphone, it was noticeably louder than the alnico magnet types.

Psycho-acoustically, listeners tend to equate louder with better, and that’s been a common sales technique used in selling stereo speakers. If one pair in a store demo is turned up a little louder than the others, customers tend to think they sound better. Or are better. It’s the same with microphones. It’s a loudness difference, not a quality difference.

4. USB mics have inferior sound quality vs. their analog (XLR) counterparts.

Not always true.  Many USB mics feature the exact same condenser mic element as the XLR version used in studio recording. USB models provide the same high quality sound signature; the primary difference in the models is the interface to the next device. The analog-to-digital converters in the USB mic also affect the quality of the recording.

5. USB mics create latency problems when recording, especially when multi-tracking.

Not always true.  Some USB mics, like the Shure PG42-USB and PG27-USB, have built-in headphone amps and provide direct monitoring of the input signal before the analog-to-digital conversion. This also provides an alternative to using your computer speakers for monitoring playback during multi-tracking.


Shure Wireless Microphone Reach

6. Some microphones have more reach than others.

False.  Reach is not a specification of a microphone. Mic users have a concept of reach as the ability of a microphone to reach out and grab the desired sound in the midst of some ambient undesired noise conditions. They believe that some microphones can pick up from farther away than other microphones.

The reality is that microphones do not reach out and grab the sound from a distance. They merely measure pressure variations right at the diaphragm itself. The microphone doesn’t “know” anything about what is happening at any distance from itself.  For this reason, if you try to characterize a microphone’s “reach”, it’s almost completely dependent on the ambient acoustic conditions around the microphone.

Here’s an example: Take a microphone to the Superbowl on a Tuesday morning at 2AM in the middle of July. There’s nobody there. They’ve turned off the air conditioning, and it’s a huge quiet box. You put your microphone at one side of the stadium and drop a nail on the concrete on the other side of the stadium. Yes, the microphone will pick up the sound of that nail a couple hundred yards away because there’s no ambient noise. Go back on Superbowl Sunday in the middle of the fourth quarter when the opposing quarterback is lining up to call the play. Put your microphone down on one side of the stadium, clear out the beer vendors and drop the same ten-penny nail on the concrete. Can you hear the nail? What changed? Same mic, same nail, same concrete, same building. But the ambient noise level is now 100 decibels higher.

The reach of the microphone, if you can even call it that, is mostly dependent on the ability of the microphone to pick up sound in the middle of all that noise. No microphone has a “reach” that is defined independently of ambient noise.

The one specification of a microphone that loosely corresponds to the concept of reach is directionality or the microphone’s polar pattern. The directional characteristic of a microphone describes how much sound it picks up from ambient sources compared to how much it picks up on-axis.

The numbers are there, but they’re not huge. The difference between how much ambient noise an omnidirectional and a hypercardioid microphone will pick up in the same conditions is only about 6 dB.  (The hypercardioid mic picks up 6 dB less ambient noise than an omni.) Because of the Inverse Square Law of Sound, if the distance between the sound source and the microphone is doubled, the level of the sound source drops by six decibels at this greater distance. The ambient noise stays the same.

If an omnidirectional microphone picks up a certain ratio of ambient noise to on-axis sound at one foot away from a sound source, then a hypercardioid microphone can be used at two feet from the sound source and still pick up that same ratio.  This is not because the hypercardioid is more sensitive to the on-axis sound but because it is 6dB less sensitive to the ambient noise.

In that sense, the hypercardioid has more “reach”.  But neither one will work at great distances in the presence of any significant background noise. They only measure the sound that travels to the diaphragm.

7. Phantom power and bias voltage are the same thing.

False.  Many users of professional audio equipment believe there is no difference between phantom power and bias voltage. Not true! Phantom and bias are not interchangeable.

Phantom power is a dc voltage (11 – 48 volts) that powers the preamplifier of a condenser microphone. Phantom power is normally supplied by the microphone mixer, but may also be supplied by a separate phantom power supply. Phantom requires a balanced circuit in which XLR pins 2 and 3 carry the same dc voltage relative to pin 1. So if a mixer supplies 48 volts of phantom, XLR pins 2 and 3 of the microphone cable each carry 48 volts dc relative to pin 1. Of course, the mic cable carries the audio signal as well as the phantom voltage.

Mixers that supply phantom power contain current-limiting resistors that act as control valves. If the microphone or cable is improperly wired, these resistors limit the flow of current to the microphone and thereby prevent damage to the phantom supply circuit. A balanced dynamic microphone is not affected by phantom power; however, an unbalanced dynamic microphone will be affected. Although the microphone will probably not be damaged, it will not work properly.

Unlike phantom power, bias does not require a balanced circuit. Bias supplies power to a Junction Field Effect Transistor (JFET) connected to the output of an electret condenser mic element. The JFET acts as an impedance converter that is a necessity in any microphone design that uses a condenser element. A condenser element has a high output impedance (>1,000,000 ohms). The JFET input loads the output of the condenser element with an even higher impedance (>10,000,000 ohms) to minimize loss of signal level. Also, the JFET output provides a low source impedance (1,000 ohms) to feed the microphone preamplifier.

In some condenser microphones, the bias voltage must be supplied on the same conductor as the audio. Condenser elements with a built in JFET use this configuration and employ a single conductor, shielded cable. Other condenser microphones utilize separate conductors for bias and for audio. It’s a good idea to consult the manufacturer’s data sheet to determine the exact wiring configuration.

A dynamic microphone should not be connected to an input that supplies bias voltage (such as a wireless transmitter) because the audio and the bias voltage will travel down the same conductor. If this occurs, the frequency response of the microphone may be altered or the audio signal distorted. If a dynamic microphone must be connected to an input with bias voltage, a blocking capacitor must be used.

In a typical electret condenser microphone, it is the JFET that requires unbalanced bias and the preamplifier that requires balanced phantom power. This means that a condenser microphone requiring phantom power will not work with an input that only supplies bias, e.g. a wireless transmitter.

Phantom power and bias voltage are not interchangeable!

Shure KSM 313 Ribbon Mic

8. Ribbon mics are too fragile to handle high sound pressure levels and live performance.

False.  This is not the case with many current models on the market. Improvements in design and materials over the years now allow ribbon mics to handle high sound pressure levels.  The Shure KSM353 and KSM313, for example, are distinguished by their use of a patented material, Roswellite®, for the ribbon. Roswellite is extremely strong, with low mass, high conductivity, and shape memory, enabling the mics to handle significantly higher levels and more challenging conditions in terms of wind blast and plosives, while retaining the characteristic warmth associated with ribbon microphones.

Many ribbon microphones are now intended for capturing vocal and instrumental performances on stage and in the studio to meet the market demand that they be used in a broader range of applications. Shure uses high-quality materials (carbon steel, stainless steel, sterling silver, nickel and gold plating) and robust internal architectures, all hand-assembled, to ensure that the products will stand up to the abuses encountered during road use.

What are your favorite microphone myths?  Share them below!

The SM63: A Go-To Mic for Outdoor Applications

Shure SM63

From the researcher who wants to record the sound of singing birds in the extreme humidity of the Amazon Rainforest, to the minister who wants the outside bell to be heard at the end of a service, there are plenty of applications that require a microphone to be mounted outdoors—even in inclement weather conditions and extreme temperatures. While all Shure products are manufactured to be durable and long-lasting, we’re often asked which microphone is best suited for outdoor sound capture.

Our answer? Your go-to mic for “environmental” sound applications should be the Shure SM63. A compact and lightweight yet durable handheld microphone, the SM63 offers both a professional sound and an elegant appearance. Wondering what makes it an ideal choice for outdoor use? Here are a few factors to consider:

  • Reason #1: It is a dynamic mic—the dynamic element of the SM63 means it can tolerate extreme temperatures or humidity. It also means phantom power is not required for operation
  • Reason #2: It has an omnidirectional polar pattern and design—the omnidirectional pattern of the SM63 means the mic can respond to sound coming from any direction. The omnidirectional design also substantially reduces the level of wind noise
  • Reason #3: It has an internal shock mount and an internal hum-bucking coil—when mounted outdoors, a mic typically has to endure structural vibration. Fortunately, the SM63’s internal shock mount provides isolation to reduce unwanted noise pick-up. The hum-bucking coil is able to reduce hum interference that often results from overhead power lines

Although it’s extremely rugged, the SM63 must still be sheltered from rain, sleet, snow, and other precipitation when outdoors. In short, it can be damp but it does not like being wet. For added durability, we recommend you cover the small air gap between the female connector and male connector at the XLR connection point with heat-shrink tubing. The supplied foam windscreen should also be installed.

If the mic location has extreme winds, use the A81WS windscreen.  It can be fastened to the SM63 by using self-adhering VELCRO® (the hook portion) on the upper part of the mic. The hooks of the VELCRO will grab the open cells of the A81WS foam. By using the A53M shock mount you’ll also supply additional isolation from structural vibration, if required.

Whether you’re trekking into the depths of the jungle to research the sounds of wildlife, or just sitting inside an insulated beach home wanting to hear the sound of waves crashing, the SM63 will serve you well.

The SM63 is available at Authorised Shure Dealers, find out where (and for more information) on our website: /

Play for LA..and the Benelux Winners are….

At the beginning of June, Shure announced Play for LA – the guitar competition, which aimed to search out the very best guitarists across Europe. 2 months, and over 150 entries later, we are delighted to announce the lucky winners in the Benelux.

Play for LA Winners Benelux

The Winners of Play for LA (Benelux edition) are….

1st Prize: Bart Planting 

Congratulations on winning the first price! If you haven’t already checked out his entry, it’s well worth a watch!

2nd Prize: Pedro Lopes

Congratulations on winning a Shure GLXD16 Beta Digital Wireless Pedal System, a Shure SM57 and a Shure SM7B!

Thanks and Congratulations

We would like to thank everyone who took part in Play for LA, we have had some great quality entries and making our final decision has certainly been a laborious task. Please join us in congratulating the winners here.

Don’t worry if you haven’t been lucky this time, Shure will be running future competitions in your region. Subscribe to our mailing list and be the first to know about future events.


Making the Right Earphone Choice: What You Need to Know

Earphones, what you need to know

When Apple began packaging earbuds with their iPods in 2001, music lovers abandoned their Walkman®and Discman® portable music players along with whatever headphones they were using at the time and a new consumer market was born.

Soon people wanted better sound from their portable players and that meant something other than ubiquitous white earbuds. Now over a decade later, the explosion of models, styles, features and costs can be a little overwhelming. So many brands, colours, pop stars and prices.

What’s the real difference? Here’s some helpful information that may keep you out of the weeds when you’re trying to decide.

Think about how you will use them

Everyone uses earphones a little differently – listening to music while working out, tuning out background noise on the bus, train or plane, hearing a mix onstage in a personal monitoring system or being able to make and receive calls while listening to music, a podcast or an audio book. The more features you add (onboard volume control, multiple drivers, detachable cable), the more earphones will cost you.

Are you going to use them every day of the week on the way to work, school or on the train? Another consideration is how careful you are. Will you place them back in a carrying case or toss them in the bottom of your gym bag?  Which family members are likely to borrow them from time to time? (And how careful are they likely to be?)

Sound isolation considerations

Sound Isolating earphones, like the ones that Shure makes, work passively the same way that earplugs do. Soft, pliable sleeves fit snugly into the ear and physically block outside noise from entering the ear. Sound isolation works across the entire audible spectrum and in all kinds of environments without the need for batteries.

Let’s say, though, that you’re a runner and like to listen to a playlist on your morning jog or training for your next 10K. Then, safety becomes a factor. You may want to choose non-Sound Isolating earphones that will allow you to hear ambient sound – a person’s voice, traffic noises, car horns or train whistles.

Comfort as a critical factor

For many users, comfort is just as important as audio quality. You’re not going to insert something into your ear that doesn’t feel good. Getting it right can take a little experimentation and patience.

For Sound Isolating earphones especially, the fit is critically important to seal the ear canal. That’s why manufacturers package multiple sizes and styles of sleeves with their earphones. These sets of sleeves – generally foam or silicone – can effectively block most ambient sound. Aftermarket manufacturers also offer custom-fit sleeves for a variety of earphones, including Shure’s.

Earphone sleeves
Also a matter of personal taste is where the cable is located.  Do the earphones tend to fall out during exercise? Does the cable interfere with your sunglasses?

Straight down: The most common type (think of the earbuds that came with your first iPod), these are worn with cable hanging straight down. The cable can be positioned in back or front.

Over the ear: Provides stability for active use. The secure fit is one reason why this type of cable architecture is found on most professional-grade earphones. The cable can be worn in back or front. (With the exception of the SE112, all Shure earphones are optimised to be worn over the ear.)

Sound quality

To produce sound, earphones employ a variety of types and quantities of miniature speakers, more commonly known in the audio industry as drivers. Here are a few considerations that apply to sound quality and determining what’s good for you:

  • Are you listening or working/performing?
  • The type of music you listen to
  • Other audio equipment you own

The quantity of drivers

An earphone with only one driver per side (a single driver earphone) can produce sound throughout the entire audible range (normally between 20Hz and 20kHz). So why would anyone ever use more than one driver? Because there are limitations to what a single driver can do. Here are a few:

  • It might not get very loud before distorting
  • The “curve” of the sound (the relative levels of frequencies from low to high) can be limited
  • Any changes must be applied through EQ or other processing

To counter the limitations of single driver earphones it is common to include multiple drivers in each side. Special filtering is applied to further segregate the range of frequencies, allowing one driver to focus only on a specific range. This can increase efficiency and the overall level that can be reached. It is not unlike the technology used in normal stereo speakers. The incoming audio signal is split into two or more audio paths (depending on the number of drivers) and each path is optimised for a specific frequency range.

It is not guaranteed that a multi-driver earphone will outperform a single driver earphone. In fact, poorly designed multiple driver earphones can cause anomalies or artifacts in the frequency response that may lead to dissatisfaction for a music listener or worse, inaccurate performances or mixes for musicians and sound engineers.

In addition to the quantity of drivers it is important to note the crossover circuitry in a multiple driver earphone.

Two-way and three-way crossovers

A two-way crossover typically splits the audio signal into two separate channels, high and low. The high signal would be routed to a high frequency driver (often called a “tweeter”) and the low signal would be routed to a low frequency driver (often called a “woofer”). The frequency at which the signals split is called the “crossover point”, which is where one range ends and another begins. When designed properly, the resulting sound might be more expansive with a stronger bass response.

A three-way crossover is similar to a two-way but would include another crossover point, making three distinct frequency ranges: Low, mid and high. A three-way design can offer even more sound level at an even higher quality if it is implemented properly.

Frequency range

Like many listening products, earphones usually specify a frequency range that is measured in Hertz (abbreviated as “Hz”). Frequency response is the range of bass, mids and trebles. 20 to 20,000 Hz (or 20 kHz) is generally accepted as the audible frequency range for humans – so it’s the standard for most earphones. But it can be a nearly meaningless metric, since few audio companies measure frequency response in exactly the same way – and – what’s in the center of the response range (human hearing) is what really matters the most.


Earphones may be relatively small but they face plenty of abuse. Cables get wrapped around our smartphones or MP3 players. They are subjected to all kinds of weather conditions. They end up in the bottom of our gym bags and briefcases. Many of the problems associated with earphones are the result of damaged cables. That makes features like detachable, multi-length and reinforced cables important to the longevity of your earphones.

Now what?

Can you hear the difference between the tangled pair you have laying around the house and your friend’s €200 earphones? That listening experience may tell you how much you should spend. Remember, too, that the shape of your ear canal means that everyone processes sound differently.

Since it’s nearly impossible to live-test earphones in a store you can try other ways to determine what’s best for you. A few examples:

  • Professional audio review websites offer insight and commentary
  • Bulletin boards and other public forums provide comments from actual customers of the products
  • Look up retailers who carry the items you are interested in and determine if you will be able to try them out
  • Test models owned by friends or colleagues

Let’s take a look at Shure’s line of SE earphones, which you can view in detail in the SE Earphones section of and
Shure Earphone range

This is personal listening, so above all else, trust your ears!


Winners of 2014 Shure Montreux Jazz Voice Competition Announced

Shure Montreux Jazz Voice Competition

The 12th Shure Montreux Jazz Voice Competition concluded on July 12th following a close finish in the Petit Théâtre at Montreux Palace, Switzerland, during the shure montreux jazz competitionmiddle weekend of internationally renowned Montreux Jazz Festival. As ever, there were excellent performances by all three finalists, but in the end, after much debate steered by the 2014 leader of the competition jury Sweet Georgia Brown, 20-year-old Alita Moses from Connecticut, USA was announced as the 2014 winner of the competition’s first prize, following compelling renditions of Miles Davis’s ‘Four’, Gershwin’s ‘Someone To Watch Over Me’ and Magda Giannikou’s ‘Amour T’es Lá?’.

Laura Perrudin and Myriam Bouk Moun, both from France, won the second and third prizes respectively. This year’s contest was notable for its collaborative atmosphere: at one point during rehearsals for the semi-finals, the nine supposed competitors broke into a spontaneously improvised circle song, to the delight of everyone watching. Check out the Videos featuring highlights of all of the performances from the three finalists and semi-finalists:

Established to nurture and promote talented young singers from all around the world through its close connection with the internationally renowned annual Montreux Jazz Festival, the Shure Montreux Jazz Voice Competition has been sponsored since its foundation by microphone manufacturer Shure. Like previous winners of the competition, all three of the 2014 finalists will take home Shure products of their choice to a total value of 2000 Euros, along with other prizes.

Visite the Shure Montreux Jazz Competition Blog for more information and impressions of the competition.

3 Alternative Guitar Mics to the SM57

The Shure SM57 is quite possibly the most popular and widely used microphone to record electric guitars. The frequency response and presence peak help to cut through a mix, while the high SPL handling makes it ideal for loud sound sources such as guitar amps. Great for most applications, granted, but good quality sound is extremely subjective, and there are plenty of occasions that call for something different.

When choosing and mic, you should consider the bigger picture and the desired end result. This might involve trying a number of microphones before you find the one that works best for your application. Here are 3 alternatives to consider:

SM7b – Large Diaphragm Dynamic

For the development of the SM7, Shure engineers were given the SM57 cartridge elements (Unidyne III) and asked, without restrictions on size or cost to essentially make it better. Very subjective perhaps, but thanks to its large diaphragm design and bigger housing, the SM7 has a wider frequency response; particularly in the lower frequency ranges. The optional presence peak or low cut filtering also allow greater control over frequency response, allowing you to tweak the mic to suit different guitar or amplifier combinations. If you like the SM57, but would welcome greater creative control over low and high frequency response, the SM7b could be the mic for you. (Click here for more information on what makes the SM7b different to the SM57)

The SM7b is available from authorised Shure dealers in Belgium and The Netherlands

Beta27 – Large Diaphragm Condenser

The Beta27 is a truly versatile and unique microphone. It is the only side-address supercardioid condenser microphone available on the market, and can be used for a wide variety of applications. Including, but not limited to electric & acoustic guitar. The Beta27 has superior transient response thanks to its ultra-thin diaphragm. If you’re looking for a brighter, more detailed sound the Beta27 delivers, without being overbearing.

Additional advantages include greater control thanks to a 3-position switchable low-frequency filter, which helps reduce unwanted background noise or counteract the proximity effect. The -15 db switch-able attenuator also helps to handle extremely high SPLs – essential when recording electric guitar amps.

The Beta27 is available from select Shure Dealers in Belgium and The Netherlands


KSM313 – Ribbon Mic

Ribbon mic’s belong to the dynamic family. However, they have an electrically conductive diaphragm, which moves directly in the magnetic field. By losing the voice coil, you reduce mass and allow the diaphragm to move faster. This produces a microphone with wider frequency response in comparison to regular dynamic microphones. Ribbon microphones have a smoother high end compared with condenser microphones, and are often described as having a warm and full sound. If you’re looking for a fuller and brighter sound than a dynamic, but also prefer a warmer sound than condenser mics, ribbon mics could be the best option.

Where Ribbon mics traditionally fall down, is high SPL handling and durability. A loud sound source alone could be enough to damage the mic. This is not the case with Shure Roswellite™ Ribbon Technology, which replaces traditional foil ribbons with a high tensile strength, toughness, and shape memory. This ultimately results in superior resilience at extreme SPLs.

Voiced for guitar and vocals

The KSM313 has an additional advantage through dual-voice tuning. One side of the mic is warm and full for amplifiers, the other is designed for bright and flattering vocal response. If you’re a singer and guitar player, or just want a microphone than can handle both applications – the KSM313 delivers.

Available from select Shure Dealers in Belgium and The Netherlands 



Using a professional microphone with a laptop?

If you want to use a professional microphone (like the SM58) with a laptop you may encounter various challenges. Laptops or rather their on board sound cards (external sound cards in fact have a microphone input) – feature a 3,5 mm stereo jack.
So the first challenge is to find the right cable. The microphone’s XLR connection needs to be adapted to the stereo jack.


If this challenge is solved (you often need a soldering iron, because even in a specialist shop it is hard to find the right cable and also the SHURE RP325 adapter cable is not always available in stores) you need to make the next decision: the signal is too low or with too much contact noise. This is up to the sound card’s low input sensitivity. The microphone’s signal is too low and therefore needs to be calculated even higher in the software. This causes even more acoustic noise.

Conclusion: A direct connection is possible, but with heavy sound quality cutbacks.

Our solutions:

  • 1) You can strengthen the signal by 12 dB with a passive transformer like the Shure A96F. But the microphone gets stressed with a low-ohm connection – this influences the sound quality. Therefore you should use this solution just as a “quick and dirty” solution – especially in situations when you don’t have a plug socket around.
  • 2) You can strengthen the signal with a small mixing desk to Line level and then use the soundcard’s Line-in. Here you need an adapter cable too, to get from XLR to 3,5 mm stereo jack. This way the signal can be delivered on an adequate level.
  • 3) You could connect a USB microphone direct with the laptop’s USB port.
    The advantage: The analog-digital conversion takes place in the microphone. This way you can achieve a higher sound quality then with some on board sound cards.
    The disadvantage: The AD converter is inside the microphone. If you want to buy another microphone you need to pay for a new converter, too.
    That’s why you can buy some microphones as all-round microphones, which can be used universally like the Shure PG27USB.
    There is also a model available for especially for speech and voice-over applications, the PG42USB ideal for podcasting too.
  • 4) Use a high quality sound card: You can find them in different types with different prices. If you have something like a small home studio you should use a multi-channel soundcard.

View the product pages of these microphones on our website.
TIP: check out consumer reviews under the review tab.

Visit our website for more information About home recording: Studio & Home Recording (Dutch)