EPTAs eSports grows and more people are getting into casting games and creating content, I've noticed that there isn't really a comprehensive thread for recommending gear. The world of audio is full of voodoo, snake oil, and mindlessly parroted misinformation and the sales associates at stores like Guitar Center are often not actually that familiar with the products that they are selling. Unfortunately, this often leads people new to the realm of audio equipment to spend a lot of money on products that are not ideal for their situation until they finally (through lots of trial and error) end up where they want. It is my desire through this thread to help people find audio equipment that works for them.
I do not pretend to be some sort of guru or expert on every piece of equipment out there so I invite anyone else who has experience to share whatever they can as well. I will only cover products which I've actually used and also go over some of the mistakes I made over the years. Hopefully this information will help those interested make better, more informed decisions and that in turn, it will help the eSports cause by giving more people the ability to produce higher quality content.
Let's start off with some basic things you always keep in mind.
Set A Budget
Trust me when I say this. This is the most important thing to think about BEFORE you look at any equipment at all. Audio equipment can get very expensive very quickly and there will always be "the next step up" in terms of quality, quantity, etc. Take a look at your wallet and ask yourself how much of that money you can actually afford to spend. After setting a budget for yourself, the next most important part is to actually stick to that budget. If I could tell you the number of times I walked into a store with $500 and ended up swiping another $500 on my credit card... -_-;; Discipline will carry you a long way not just in this pursuit, but in all aspects of your life.
Identify Your Needs
Unless you're planning to record 16 instruments at once, remember that you're not recording 16 instruments at once. In this case, we're podcasting. That generally means you only need 1 or 2 channels at any given time and your recording interface should reflect that. As tempting as it is to buy that 8-channel audio interface, unless you're using all 8 channels, you'll get a lot more out of buying a really good 2-channel interface even if you end up spending the same amount. Though it's not gospel, for the most part you DO get what you pay for. Aside from the number of channels you'll be using, you should also think about what quality you intend to distribute your content in because it makes little sense to pay extra for super high quality microphones if your audience will not even be able to tell because you're releasing your files in lower quality.
Function > Form
We all love pretty things, but a lot of the greatest audio equipment out there is really the exact opposite of pretty. Some people have this thing where they are mentally affected by the aesthetics of their equipment, but unless you really can't function without nifty looking gear, please make every effort you can to ignore what any piece of equipment looks like because your listeners aren't hearing with their eyes.
Set A Long Term Goal
This one is important. Ideally, every piece of equipment you buy should complement your existing equipment rather than replace it. Spend your money on gear that will stay with your and avoid the temptation to settle on a quick fix if you can. Every item you outright replace over time is money lost that could have gone toward something else so do your research, develop an idea about where you want to be and create a checklist to go down over time toward that goal.
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Now that we have some concepts to keep in mind, let's jump right into it starting with the most common question that I see asked when it comes to this topic.
Which Microphone Should I Use?
This is a question with no easy answer because it depends on numerous factors, but mostly it boils down to preference. I will give you a few suggestions and some of my thoughts regarding the matter.
First of all, unless you're doing a video broadcast such as MLG, NASL, etc. where you're actually going to have the camera on your face when you're on stage or something, I would avoid headsets altogether. As convenient as they are, there's a reason you don't see them used in most serious recording or audio broadcast scenarios and that's because they're simply not built for audio quality. Chances are you're going to be sitting in a single position in front of your computer anyway so there's really no reason to go down this route except that it might look cooler. Contrary to what many people do, you don't need to be eating a microphone while speaking into it so it's perfectly possible to position a microphone in a comfortable location a fair distance away from you and still be heard just fine.
On the issue of USB vs. XLR, I honestly see no good reason to select a USB microphone. Even if you're on a budget, this goes into thinking long-term. First of all, a USB microphone will almost always cost more than its XLR counterpart due to the fact that it is comprised of both the microphone itself and the audio interface. USB microphones provide absolutely no room for growth. You cannot attach a different microphone to the interface in the future because the interface is part of the microphone you bought nor can you use the microphone itself with a different interface. Essentially, you are locked down into a specific interface/microphone combination for no good reason. The biggest argument in favor of USB microphones is really the plug-and-play convenience, but in my opinion products such as the Blue Icicle or the CEntrance Micport Pro makes this point moot since they are plug-and-play 1-channel interfaces that let you use any XLR microphone (room for growth) with just as much convenience.
On the issue of Condenser vs. Dynamic microphones, there is a lot of misinformation that surrounds this issue. A lot of people believe outright that condenser microphones are superior because they are more responsive and accurate by design than dynamic microphones. While there is truth to that, sensitivity and responsiveness is not always a good thing. If you're reading this post, I'm guessing that you probably aren't going to be broadcasting from an isolated vocal booth that's been soundproofed and you probably don't even have acoustic treatment on your walls. That sensitivity that makes the microphone so good at accurately reproducing your voice will also accurately reproduce every single ring, echo, whir of your computer fan, squeak of your chair, and whatever other ambient noises you have going on in your room. This isn't to say that you shouldn't use them, but rather to point out that there are other factors to consider when making this decision. Another issue people will often run into with condensers is something that comes up with the budget condenser microphones that are marketed for podcasting. This is the issue of sibilance. Cheap, Chinese-made condensers are notorious for the issue. If you don't know what sibilance is, it's the sound you get when you make an "s" sound. And no, pop filters don't actually solve the problem despite what may hear. Pop filters are designed to deal with "plosives", which are pops from bursts of air (like the name of the filter would suggest).
"Alright, get to the point..."
Here are some microphones I can suggest that are pretty sure bets. I've tried to incorporate a number of price points and I've also thrown in some USB microphones for those who really want one for some reason... Before anyone asks me where the U87 or some other ridiculously expensive microphone is, if you're seriously looking into that price range, you don't need me to tell you that they're good microphones:
Dynamic Microphones
Shure SM57/SM58 ($99)
I don't think these mics need a whole lot of explanation. They're the workhorses of the recording and live performance industries. Build like tanks and reliable as hell. They've survived the test of time and for good reason.
Shure Beta58 ($150)
This is the new version of the SM58 and sports increased responsiveness and an overall crisper sound. I've found that it does particularly well on male vocals.
Rode Procaster ($230)
At $230 this microphone throws out quality that is really quite impressive.
Electrovoice RE320 ($300)
This is Electrovoice's new version of the world famous RE20 microphone. It sports a hotter output than the RE20 and also has a "dual personality" switch which is essentially a built-in EQ.
Heil PR40 ($325)
Heil's PR40 while less popular than the RE20 is a formidable match that comes at a very agreeable price point for its quality.
Shure SM7b ($350)
Shure's SM7b is all the rage in the recording community. Like the other Shure mics on the list, it is incredibly versatile and sounds great in just about any situation. This microphone requires a lot of gain, however, so it's probably important to keep in mind that you'll probably need a good mic preamp if you plan to use it.
Sennheiser MD421 ($380)
The MD421 is another very popular microphone in the broadcast and recording communities and has been a mainstay. Depending on the source, many prefer it over the RE20.
Electrovoice RE20 ($430)
If you've ever listened to the radio, you've heard this microphone at some point. As far as its presence in recording studios and broadcast stations across the world, this mic is as ubiquitous as the SM57. It's the gold standard of broadcasting microphones and the ruler against which every broadcast microphone is measured..
Condenser Microphones
Blue Yeti ($150) *USB
Coming in at $150, this microphone offers a stupid amount of features in a good way. The quality far surpasses the Snowball and the polar pattern switch gives it more versatility than any other microphone on this list. The only real strike I'd put against it is the lack of a proper shockmount. Blue claims that it doesn't need one, but I assure you that it does.
MXL 2003A ($180)
Surprisingly, one of MXL's better offerings. I thought about putting the V6x series mics on this list, but those are essentially well-priced mod platforms while this microphone actually performs quite well within its price point.
Rode NT1-A ($230)
To be honest, I'm not a real big fan of this microphone personally, but I can't deny its popularity or its place in the low-end recording community. I'm putting it here because someone will undoubtedly bitch at me if I didn't mention it. The best thing this microphone has going for it is that it has incredibly low noise, which is a rare thing at this price point.
Audio Technica AT4040 ($300)
This is hands down one of my favorite microphones. In a field plagued with sibilant Chinese-made shit, Audio Technica really hit this one out of the park. This mic is a smooth operator.
AKG C214 ($400)
I know people will argue with me about this as this mic has gotten some mixed reviews, but I like it. I realize that it's not the same capsule as the 414 which is the famous AKG mic, but it's less than half the price and it actually comes quite close in my opinion.
OktavaMod Aphex 460 ($689)
Yeah... this thing wins out against mics that cost 10x its price in blind shootouts. Enough said...
How Do I Connect The Microphone To The Computer?
There are countless audio interfaces up there, but in short, for the purposes of casting, I'd suggest one of the following interfaces:
Blue Icicle ($40)
CEntrance Micport Pro ($150)
Focusrite Scarlett 2i2 ($150)
Apogee Duet 2 ($600) *MAC ONLY
RME Babyface ($750)
I am well aware that there are many seemingly great values for interfaces that offer many more channels at a lower price than the Duet 2 and the Babyface, but remember that we're casting here, not recording bands. That means we want a few quality channels and an interface with solid drivers rather than a lot of trash. Also, for the purposes of casting, if you want to increase the number of channels, I personally find it more efficient to output into a 2-channel interface from a mixer since the mixer will let you mix any number of channels down to a 2-channel stereo output anyway. Buying a mixer with more channels is also a LOT cheaper than buying a new recording interface with more channels. For the purposes of live casting, you're also going to be wanting a mixer anyway since it's simply the quickest, most effective way to adjust, mute, etc. things on the fly.
What Mixer Should I Get?
Get something with however many channels you want. Try to get a mixer with faders (sliders) as opposed to knobs because they're just easier to work with on the fly and stay the hell away from anything that says Behringer or I will have to slap you.
Microphone Preamps
The recording interfaces I listed come with built-in microphone preamps so this is more of an option than a necessity (unless you're using the SM7b or the RE20 microphones which both require a good amount of clean gain). However, if you can fit it into your budget, a good microphone preamp can bring your sound up to a new level. There are countless preamps out there, but of the ones I have experience with, I can recommend the following:
Golden Age Pre 73 ($350)
This preamp was the subject of a bit of craze in the recording community a while back because the quality you get is simply absurd for the price you pay. There are also a whole bunch of mods that you can do to customize it if you want.
Focusrite ISA One ($499)
This was the first stand-alone mic preamp I ever bought and it's still my go-to. It gives a very clear, transparent feel with just a hint of sizzle to cut right through any mix. I think everyone should own one of these things.
Daking Mic Pre One ($765)
This preamp is very straight-forward with no frill or glitz. It's a workhorse that does its job and does its job very well. I've yet to hear a single mic that didn't sound great on it. (And I've tried a lot of them...)
Universal Audio 610 ($1000)
This one is a bit finnicky and to be honest, I was debating whether or not to put it on the list. Some people in the know may think of me as insane for saying that, but hear me out. This preamp is a double-edged sword. It's a truly GREAT preamp when paired with the correct microphone. However, when not with the right microphone, it falls pretty far down into the realm of mediocre so approach with caution in my opinion.
BAE Audio DMP (Desktop Mic Pre) ($1050)
I don't own this one personally, but I had the pleasure of being able to use it when a classmate brought his in for a project. This thing just screams quality all over and you can bet your ass I'm going to pick one up as soon as I have the money saved up. It's the next purchase on my list.
Compressors
Like the microphone preamps, this is also another option that you can add, but used correctly it will have a greater effect on your sound than the preamp. A compressor compresses (as its name would suggest) the dynamic range of your audio. This means that your volume will be more consistent across the board, which is extremely useful for broadcasting. This way if you burst out screaming, your audience won't be bleeding from their ears because the compressor will reduce the volume by the given ratio after it exceeds a certain level. Please do your audience a favor and invest in one of these as soon as you can...
As far as specific model recommendations go, I don't have any since I've personally found the differences between them to be negligible as far as how well they do their job. Like any other piece of audio equipment, a person can select a specific model to impart additional character onto the sound, but I really have only used them strictly for their job in limiting dynamic range.
If you pre-record your casts, there are many software compressor plug-ins that would do just fine for this purpose so you don't necessarily need to buy hardware.
Cables
I strictly use Mogami cables in my setup, but any good cable will do. Just make sure you're not using the budget cables they give out for free at Guitar Center and you will probably be fine. If you have soldering experience, you can make your own high quality cables for much cheaper than it would cost to buy pre-made, but whatever you choose to do, always use the shortest cable length possible to get the job done.
Headphones
Do yourself a favor and get yourself a good pair of headphones that don't bleed out sound. Your ears will thank you. I have a pair of Audio Technica ATH-M50's and when I want extra comfort, I have Sennheiser HD650's.
Headphone Amplifier
If you ever plan on having multiple people in the room to cast, you may want to invest in a headphone amplifier such as the PreSonus HP4, which will allow you to power 4 headphones from a single input signal. This is more important if you have high impedance headphones that require a good amount of power to drive.
Acoustic Treatment
I mentioned this briefly before, but it's one of the most important factors in determining your recording quality yet also often the most overlooked. Unless you happen to be in a space that's been purposely designed and built for recording, your room acoustics are probably less than ideal. Chances are high that you are dealing with echoes, ambient noise, etc. that make your room less than suitable for recording. Several companies such as Auralex and GIK Acoustics design various products that help solve some of these issues and greatly improve your recording space. This is actually not just great for recording, but also if you have a home theater system, your theater room will benefit immensely from proper acoustic treatment too. (NO, EGG CARTONS ARE NOT PROPER ACOUSTIC TREATMENT)
Alternatively, if you're good with your hands, then you can find DIY guides to creating your own acoustic treatment products at a fraction of retail cost. Whatever the case, room treatment is one of the best ways to improve your sound.
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Once again, the equipment covers a range of prices and you don't need the most expensive stuff out there to make a quality production. Do your research and decide which direction you want to go. It took me years to buy the gear to get to my current recording/casting setup and I don't feel I'll ever be truly done because I love buying and trying new gear and adding to my collection.
That's all I could think of for now, but I will add more if anything comes to mind. If you have any questions feel free to ask and also for anyone else who has experience with other good gear, please throw up your own input.
. Gonna bookmark this anyway, thanks.
