If you're in the market for a microphone, you probably have a specific use in mind. But what works for live streaming games might strike the wrong chord for music. And a top-flight mic for musicians might be inconvenient for podcasting. That's where we can help. PCMag's audio experts have covered audio recording equipment and software for well over a decade, so we know what to look for from mics of all kinds. And you can trust that our reviews are independent and ethical; manufacturers do not influence our coverage.

Our current list of Editors' Choice winners includes the Apogee HypeMiC with analog compression, the superb Joby Wavo POD for podcasting, the comprehensive Sennheiser Profile Streaming Set, and the SteelSeries Alias Pro XLR with a physical mixing interface. But if none of these meets your requirements, check out our full list of top-tested USB and XLR mics below, complete with links to in-depth reviews. And be sure to read to the end to learn everything you need to know before buying.

How Do Microphones Work?

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 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). The signal from the mic should be more or less pure; Engineers then apply EQ effects, dynamic compression, and reverb later in production.

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 on a different piece of gear entirely; typically, pros refer to it as a Mic Pre. USB mics also often have headphone jacks, while XLR mics don't.

(Credit: Eric Zeman)

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, there are several styles of microphone (such as condenser, dynamic, or ribbon) that, combined with the various microphone polar patterns (such as cardioid, hypercardioid, omnidirectional, or figure-eight), 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). But not all recording software plays nice with USB mics. Avid Pro Tools, which is more or less the industry standard for music recording software, requires a somewhat tedious workaround to support most USB mics. (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.

What Are the Best Mics for Streaming?

Gamers who want to record or live stream their gameplay might appear to need the same things as musicians who want to record clear vocals. But musicians recording vocals with a pure signal are then likely to mix them in a multitrack scenario, applying EQ, dynamic compression, and perhaps reverb in the process. Gamers, more likely than not, need some of these things baked in from the outset. Some form of DSP is helpful, for instance, to limit spikes in levels from laughter or shouts.

(Credit: Tim Gideon)

Some gaming mics up the ante by providing multiple polar patterns. Although cardioid (single-direction) is the standard, you might want to capture more than one voice with an omnidirectional or figure-eight pattern. A few models also have built-in switches to work with specific consoles.

Finally, most gaming mics offer an onboard headphone jack. It should have low or zero latency, so you don't hear a distracting slapback delay when you speak. For more gaming audio gear, check out our favorite gaming headsets.

What Makes a Microphone Good for Podcasting?

The goal with any mic is almost always clarity. But for podcasts, you need to take the vocalist into account. 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 calls for less experienced interviewees, use a mic that has some protective DSP. Again, DSP helps prevent outbursts of laughter and such from causing distortion.

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

(Credit: Tim Gideon)

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 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.

How to Choose the Best Mic for Recording Music

Microphones in music recording have always been one of the more mysterious elements of the signal chain. You want an XLR mic that provides an accurate, clear signal, but there's no denying that engineers and producers consistently go to certain mics because of their particular characteristics. The Royer R-121, for instance, is a figure-eight pattern ribbon mic that some engineers prefer for a richer, smoother sound (along with its ability to pick up some of the room). Meanwhile, the Shure SM7, of Michael Jackson fame, is popular for broadcasting because of its clarity. Thus, the concept of a "pure" signal is a bit misleading—what you're usually after is a clean signal, which should be a given with pro mics.

After that, you need to consider any specific characteristics that make the mic bright or dark. Some models can handle higher sound pressure levels, making them great for recording loud drums and amps, while others are ideal for capturing every bit of detail in a vocalist's dynamic performance. With USB mics, the concept isn't—or at least shouldn't be—wildly different. You should expect clarity, so we focus on defining characteristics instead.

You probably don't want a mic that uses obvious DSP in the signal. With music, the goal is typically to get the purest recording "to tape" (even if your "tape" is GarageBand). Then, any processing that needs to happen takes place during mixing. Some engineers record with a little EQ or compression as part of the signal chain, but that offers less flexibility down the road, as those effects are now baked into the recording. Of course, the compression or dynamic limiting is often in place to prevent distortion on peaks (the primary purpose of DSP).

We could talk in circles here, but a USB mic for music recording should probably have only minimal DSP, if any. Although some models employ DSP, it's really subtle in these scenarios compared with that of a typical gaming mic. And there are plenty of music mics that use no DSP whatsoever.

(Credit: Tim Gideon)

If your goal is to get the highest-quality recording possible from a USB mic, you also need to take the sample rate and bitrate into account. All mics should be able to do 44.1kHz/16-bit, but if fidelity is a top priority, you should seek out higher sampling rates (such as 48kHz or even 96kHz) and 24-bit support.

How Much Should You Spend on a Mic?

There's a wide price range among mics, and we've done our best to test models across the entire spectrum. Spending more doesn't necessarily mean you get a better product, but there does seem to be a fairly sensible scale of quality that comes with price.

Check what accessories come with your microphone as well. Depending on what and where you plan to record, you might need to buy a separate mic stand, pop filter, or even a shock mount. You can easily spend more than $100 on those three items alone. For some users, a mic that ships with a stand and windscreen or pop filter is the more reasonable choice.

Again, don't base your decision entirely on pricing and buy the most expensive thing. Determine what you need first and see what options meet your criteria.

What Are the Limitations of USB Mics?

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.