A quick word about a major limitation in the USB microphone world: You can typically only record one mic at a time. This is because, on the whole, USB mics are made less for pro-level setups and more for computer-based setups that lack an audio interface with multiple inputs. All your computer can do without an audio input/output to field the multiple signals is select a single input. There are workarounds, of course, including using software that allows you to record multiple mics at once, but the catch is that they all record to the same track. It's also possible to pan one signal all the way left and the other all the way right in a stereo track to separate them later, but that's a convoluted workaround.

If your goal is to record multiple microphones at once, USB mics are probably not what you need. Look for a USB (or Thunderbolt) audio interface that can receive multiple inputs at once and send them as separate tracks to your recording platform. In this scenario, you almost certainly need XLR mics (the interface handles the digital conversion for you, thus eliminating the convenience and need for a USB mic in the first place). The result is a much more pro-level setup than what we're typically discussing when USB mics are part of the equation.

The goal with any mic is almost always clarity. However, for podcasts, you need to consider the vocalist. If you are recording an experienced speaker who has excellent mic technique, go for an XLR mic or a USB mic that has no DSP. If, on the other hand, the podcast routinely features less experienced interviewees, use a mic that has some built-in DSP protection. Again, DSP helps prevent outbursts of laughter and such from causing distortion.

Another consideration is how many people will be speaking simultaneously. If there's only one person talking in the room, a cardioid pattern mic is probably the best option. You could also use a mic with a figure-eight pattern for one-on-one interviews. Placing the microphone in the middle of the two speakers in this scenario (provided they are not too far apart) can yield a natural recording.

Consider going the omnidirectional route if you're trying to capture the sound of a room or a location. Examples would be if your podcast calls for the sounds of a softball game in a park or of glasses clinking and diners chatting at a restaurant. But this brings up another point—if your podcast involves on-location recording, a mic that can record directly to mobile devices is more appropriate. Wireless lav systems like the DJI Mic Mini and DJI Mic 2 are helpful in these scenarios since they get the mic close to those who are speaking.

Beyond that, you need to think about windscreens and pop filters. If you are dealing with wind noise or a speaker with no mic technique, preventing plosive air sounds is paramount. Luckily, many of the mics we include here bundle such accessories.

In addition to a mic, check out the rest of the best podcast equipment you need to get professional-quality audio. Once you're ready to start recording, check out our tips for how to create a successful podcast.

Before we dive into the world of USB mics, you should know how most professional microphones work. In a typical recording studio scenario, a microphone is an analog piece of equipment that sends a signal to a console or computer through an XLR cable (often via a mixer that can handle multiple microphones simultaneously). The signal from the mic should be relatively pure; engineers then apply EQ effects, dynamic compression, and reverb later in the production process.

Digital mics that use USB cables are a different beast. These microphones process and digitize the audio directly. Any editing you do at the computer is to a signal that the mic has already treated. Also, note that the mic dictates the maximum sampling rate and bit rate. Each USB mic is essentially an analog-to-digital converter, complete with a built-in gain knob. In the analog studio world, that gain knob is often located on a different piece of gear entirely; typically, professionals refer to it as a mic preamp. USB microphones also often have headphone jacks, whereas XLR microphones don't.

The biggest difference between competing USB mics is how they use digital signal processing (DSP). Some mics use it subtly. Others avoid DSP completely and offer you the purest, highest-bit-rate signal they can. And yet others glob the DSP on in thick coats. The latter can still be OK if their processed sound meets your project requirements. Most of the mics with heavy DSP are for gamers.

Outside of the USB mic world, several styles of microphone (such as condenser, dynamic, or ribbon) combine with various microphone polar patterns (such as cardioid, hypercardioid, omnidirectional, or figure-eight) to produce a wide range of options for the recording engineer. Among USB mics, it's mostly (but not always) condenser mics with cardioid patterns.

Finally, most USB mics are plug-and-play ready. Apple GarageBand, for instance, typically recognizes a USB mic immediately and asks if you want to use it as an input (set it for both input and output if you want to use it as a headphone monitor as well). However, not all recording software is compatible with USB microphones. Avid Pro Tools, which is essentially the industry standard for music recording software, requires a somewhat tedious workaround to support most USB microphones. (Search for "aggregate device USB mic Pro Tools" to get a better idea of the process.)

With all that out of the way, let's break down the discussion into the three most common uses for a mic and the various options, characteristics, and needs for each application.