Articles
Audio.
Recording, microphones, monitoring, and the signal path. Read the latest audio articles, newest first.
Do Podcast Guests Need Separate Headphone Mixes?
A separate headphone mix is useful when people need to hear different balances. It is not automatically necessary for every podcast. If the host and guest both need the same playback and voice levels, one shared monitor mix may be enough. Separate mixes add control, but they require outputs, routing, and a way to adjust those mixes.
How to Route Computer Audio Into a Podcast or Stream
Getting computer audio into a podcast or stream is a routing problem: choose the application you want, send it into the recording or streaming mix, and verify that you are not capturing the same sound twice. The exact method depends on operating system, software, and interface. A cable that works on one setup may not be available or appropriate on another.
Do You Need a Mixer for a Podcast? Buy Routing Before Faders
A mixer can simplify several microphones, live callers, and hands-on routing, but an audio interface may be the simpler fit for a small recorded show.
Lavalier or Handheld Microphone for a Presentation?
Choose a lavalier when the presenter needs both hands free and will remain within a predictable area. Choose a handheld when the presenter can manage the microphone and wants direct control over distance and direction. Either can sound good; the choice depends on movement, clothing, room noise, and who is responsible for microphone technique.
What Podcast Microphone Polar Pattern Do You Need? Choose for the Room
A microphone's polar pattern changes what it hears around the capsule. Choose for the room, the speaker's movement, and the noise you can actually control.
24-Bit or 16-Bit? Record With Headroom, Deliver What You Need
Bit depth affects recording headroom and noise, while the delivery format is a separate choice. Keep the two decisions from getting mixed together.
One Microphone or Two for a Two-Host Podcast?
One microphone for two hosts can be a reasonable starting point, but only when the room and seating allow both voices to reach it clearly. Two microphones give each person more control over level and editing, yet they also add setup, routing, and room sound. The choice is not simply “professional” versus “amateur.” It is a trade between simplicity and control.
What Does a DI Box Do? It Fixes the Signal Path Before the Mixer
A DI box converts an instrument signal into a balanced mic-level feed for a mixer or interface. It is useful for distance, impedance, and some hum problems.
Closed-Back or Open-Back Headphones? Tracking and Mixing Need Different Things
Closed-back headphones keep a click and backing track out of the microphone. Open-back designs can feel more natural for critical listening but leak sound.
44.1 or 48 kHz? Choose the Sample Rate for the Delivery
44.1 kHz and 48 kHz both cover ordinary music work. Choose based on the destination, keep the project consistent, and use 24-bit for recording headroom.
Audio Buffer Size: Lower for Recording, Higher for Mixing
Buffer size trades monitoring delay against computer workload. Use a small buffer for live input and a larger one when the session needs processing power.
How Many Audio-Interface Inputs Do You Need? Count the Take, Not the Gear
Interface input counts should follow the sources you record at the same time. Count microphones, stereo outputs, and future sessions before buying.
What 48V Phantom Power Does — and When to Leave It Off
Phantom power supplies some microphones through the cable. Understand the balanced connection, the exceptions, and the safe order for switching it.
Balanced or Unbalanced Audio Cables? The Cable Is Not the Whole Answer
Match the source, destination, and signal type before choosing a balanced connection, unbalanced cable, or DI box. A TRS plug alone doesn't tell you the job.
USB Microphone or XLR Microphone With an Interface? Decide What You Will Add Later
A USB microphone is simpler to start with. An XLR microphone and interface make expansion easier. The right choice depends on where the setup is going.
Dynamic or Condenser Microphone? Start With Placement, Pattern, and Power
Electrical sensitivity does not make a microphone reject a room. Choose for a useful working distance, pickup pattern, and recording-chain requirements.
Gain Staging: Why Turning Up the Fader Does Not Fix a Weak Recording
Input gain and track volume do different jobs. Set the signal correctly at the source, then use the fader to balance the mix.
Studio Monitors or Headphones First? Start With the Room You Can Actually Use
Headphones avoid room reflections, but they are not a perfect mixing reference. Choose a first listening setup around noise, speaker placement, and the work you need to do.
Planning a session? Count the inputs you need →