There are some basic truths that can help. One thing... No EQ is better than poor EQ. Trying to EQ anything on less than optimal monitoring equipment is a losing battle, and without a working knowledge of audio fundamentals can cause you to create more problems than you can possibly solve with it. Even WITH good monitoring equipment, lacking an understanding of audio fundamentals can lead to bad habits and mistakes. Just as with EQ, poor compression practices are worse than no compression. A little can go a long way. There's probably a little more margin of error here than with EQ, as long as you're working conservatively. A high pass filter (AKA HPF or Low cut) is something that can generally be applied conservatively on a voice and absolutely not hurt a thing. IOW an 80Hz or 100Hz setting. If you engage it and don't hear it doing anything, that also means it's not hurting anything. It should help keep rumbles, low end environment noise, wind noise, and plosives down. You might get away with a higher setting, but if nothing else, that conservative setting is a good idea as something to always just engage. Room noise/echo is a product of the environment you're recording in. If the mic is picking up too much of the sound you don't want (the room/echo) and not enough of the sound you do want (your voice)- Get closer to the mic. Change the S/N ratio (signal to noise). Loudest sound at the mic wins. Get closer to the mic, and make sure the mic is aimed properly. Also, make sure you're using a cardioid mic versus an omni (or figure 8 pattern) mic in these type of environments. Getting closer to the mic helps changes that balance and gets more of your voice into the mix vs the ambient room noise. The signal you want versus the noise you don't want. It probably goes without saying, but using a voice that projects versus a quiet voice trying not to be heard also helps. If you talk quietly so others won't hear you, the mic will have trouble hearing you as well. You don't have to shout, but speak like you want to be heard. You can also improve your room to make it less lively, but unless you don't want the mic in the camera shot, getting close to the mic goes a long way if not all the way in most cases. Or do both things... Ignore nonsense about condenser mics vs dynamic mics. If all else is equal, then that's not the reason for most problems people have in this regard. If you match the gains, then there will be tonal differences in the mics (as there are in ANY different mics), but "condensers pick up more room sound" is mainly a myth based on a fundamental misunderstanding of audio principles. As long as all else is equal anyway. Likely main reason this myth floats around is that a condenser is typically a LOUDER mic than a dynamic. But you're supposed to adjust and optimize the gain in your system. As soon as you do that, the dynamic and condenser are essentially going to do the same job as far as room noise goes as long as all else remains relatively equal. Comparing a condenser in a figure 8 pattern to a cardioid dynamic, even if gain matched, will have the condenser picking up more ambient noise. That's not because it's a condenser mic... it's because it's a mic with a figure 8 pickup pattern. There are some other caveats, but the gist of it is the mic type (Dyn vs Cond) is rarely the issue when room noise is the complaint. But, also, speaking to the myth, I'm sure some people have swapped out a louder condenser with a quieter dynamic, didn't gain match the mics, and noticed the dynamic didn't pick up as much room noise. Well, that's because it's not as loud in the first place. It also won't pick up as much voice (because it's got a lower output). But then if the person gets closer to the mic to compensate THAT actually helps to mitigate or fix the S/N ratio issue with room noise. So... cause and effect might lead someone to believe the dynamic mic fixed the problem.... No... getting closer to the mic is what fixed the problem. Answer from bball2014 on reddit.com