Among USB mics, it's mostly (but not always) condenser mics, and mostly (but not always) cardioid patterns.įinally, most USB mics are plug-and-play ready. Outside of the USB mic world, there are several styles of microphone (condenser, dynamic, ribbon) that, combined with the various microphone polar patterns (cardioid, hypercardioid, omnidirectional, figure-eight), produce a wide range of options for the recording engineer. Typically, most of the mics with heavy DSP are geared toward gamers, though that's not exclusively the case. And some mics not only employ DSP, but glob it on in thick coats that offer anything but a pure signal (and that can be fine, too, if it serves your intended purpose). Some mics avoid DSP completely and offer you the purest high-bitrate signal they can. The biggest differentiator between USB mics themselves is how they use digital signal processing (DSP). USB mics also often have headphone jacks, which is another anomaly compared with the analog studio mic world. Each USB mic is essentially its own analog-to-digital converter (DAC), and often with its own gain knob built in (in the analog studio world, that gain knob is often on a different piece of gear entirely, usually referred to as a Mic Pre). Any editing you do at the computer is being done to a signal that has already been digitally processed, with the maximum sampling and bitrate dictated by the microphone. The audio is processed and digitized through the microphone itself instead of at the other end of the cable. The signal from the mic should be more or less pure, with EQ, dynamic compression, and reverb added later in production.ĭigital mics that use USB cables are a totally different beast. In a typical recording studio scenario, a microphone is an analog piece of gear that sends a signal to a console or computer through an XLR cable (often through a mixer that can handle multiple microphones at once).
To start, you should know how most professional microphones function.
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