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Earthworks ETHOS (XLR condenser): $400, plus a $100+ XLR interface
This is the microphone I use. Incredible sound and practicality, and my favorite mic to date. It’s warm, smooth, and detailed, with zero background hiss. Its supercardioid pickup pattern captures relatively little room echo and background noise, it’s extremely easy to drive even from inexpensive XLR interfaces and portable recorders, and has built-in shockmounting and pop filtering. This is the best sound quality I’ve found that’s also practical in a home environment. It’s sturdy, heavy, and made of stainless steel, yet more compact and attractive compared to other popular microphones (making it great for video). Even the built-in swivel mount is a joy to use for quick angle adjustments. I absolutely love the ETHOS, and I haven’t found a better all-around podcast microphone in the world at any price. For almost any podcasting needs except hand-held use, stop right here — you’re done.
Shockmount: Not necessary
Pop filter: Included, foam
Sample:

Shure Beta 87A (XLR condenser): $260, plus a $100+ XLR interface
An incredibly practical, good-sounding mic. Its supercardioid pickup pattern captures relatively little room echo and background noise, and it can be powered by inexpensive XLR USB interfaces and portable recorders. Its compact, durable enclosure is better suited for travel, stage, or hand-held use than the Earthworks ETHOS or Electro-Voice RE20, although it doesn’t sound quite as good. This versatile, mid-priced mic is great for most podcasters, with one exception: if your speech has strong sibilance (harsh “sss” sounds), the 87A accentuates that, and you’d be better served by the ETHOS, RE20, or KMS 105.
Shockmount: Not necessary
Pop filter: Recommended, $12 mount combo or $10 foam
Sample:

Electro-Voice RE20 (XLR dynamic): $450, plus a $100+ XLR interface
A great all-arounder: excellent sound, great suppression of background noise and room echo, and very forgiving of amateur mic technique. It’s an industry standard for good reasons, and if you prefer the way voices sound on traditional radio-studio dynamic microphones, the RE20 sounds much better on more voices than the Shure SM7B. Like many large dynamics, it needs a powerful preamp, but not as much as the SM7B. It has a classic studio enclosure that’s very durable, but this makes it very large and heavy, especially with its shockmount.
Shockmount: Recommended, $110
Pop filter: Not necessary
Sample: (US-2x2)
Sample: (USBPre 2)

Neumann KMS 105 (XLR condenser): $730, plus a $100+ XLR interface
Extremely similar to the Beta 87A in physical characteristics, but with better sound that’s almost as great as the ETHOS. It’s warm and smooth without losing detail, with zero background hiss. Like the 87A and ETHOS, it’s a supercardioid mic that’s very good at suppressing noise and room echo, is easy to drive, and doesn’t need a shockmount, although a pop filter is recommended. I love this mic and used it as my main podcasting mic for years, but it’s not worth nearly double the price of the similar-but-better ETHOS unless you need its shape for stage or hand-held use.
Shockmount: Not necessary
Pop filter: Recommended, $12 mount combo or $10 foam (same as 87A)
Sample:

Audio-Technica ATR2100x-USB (USB and XLR dynamic): $100
An amazing value for the money: it sounds great for the price, and pretty decent at any price, as long as you speak up very closely to it. With USB-C and XLR outputs, and a built-in headphone jack for USB mode, I don’t know of a cheaper or simpler all-in-one solution to recommend, especially for a beginner or a minimal travel setup. Compared to other inexpensive USB mics aimed at beginners like the Blue Yeti, the ATR2100x picks up far less room echo and background noise, and is much easier to travel with. But you have to speak up closely to it — if you’re using its desk stand, elevate it up to mouth level (with e.g. a stack of books) if possible. This replaces the older ATR2100, a solid budget/travel recommendation for years.
Shockmount: Not necessary
Pop filter: Necessary, $6
Sample: (USB)
Sample: (XLR)
Sample: (Desk distance)

Compared to its predecessor, the ATR2100:
Sample:

Pyle PDMIC58 (XLR dynamic): $10–20, plus a $100+ XLR interface
A stunning value, this cheap knockoff of the Shure SM58 sounds amazing for the price — in fact, it sounds better than most of the dynamic mics I’ve tested at any price. It’s easy to drive from inexpensive interfaces, and like most dynamics, it picks up very little background noise and room echo. It feels pretty sturdy, although I don’t know how much longevity or consistency to expect out of such a cheaply made knockoff. Still, I can’t believe how good it is for this price.
Shockmount: Not necessary
Pop filter: Necessary, $6
Sample: (Tascam US-2x2)
Sample: (Behringer UM2)
Sample: ($12 XLR-USB cable)

Electro-Voice RE320 (XLR dynamic): $300, plus a $100+ XLR interface
A good all-arounder: like the higher-end RE20, it has excellent sound, great suppression of background noise and room echo, and is forgiving of amateur mic technique. The RE20 sounds more smooth and neutral to me, but the RE320 gets you much of the way there.
Shockmount: Recommended, $110
Pop filter: Not necessary
Sample:

Rode PodMic (XLR dynamic): $100, plus a $100+ XLR interface
Intended as a less-expensive alternative to the SM7B, it has a built-in mount, pop filter, and internal shockmount, and needs a pretty strong, low-noise preamp (although not as much as the SM7B). Sound quality, tone, and handling are comparable to other dynamic mics in its price range, so it’s a nice alternative if you’re looking for something compact and inexpensive to mount on a boom arm.
Shockmount: Recommended, $110
Pop filter: Not necessary
Sample:

Shure MV7 (USB and XLR dynamic): $250 (also available as XLR-only)
Like a slightly scaled-down SM7B in most good ways, without the huge gain requirements, and with a USB interface built in. It suffers a bit from increased plosive and sibilance pickup compared to the SM7B, and has awkward digital touch controls (why?) for gain and headphone volume. The sound is right down the middle for a dynamic mic: it makes everyone sound acceptable, but makes nobody sound great. It’s a versatile all-arounder and competes very well against other USB mics, but isn’t anything special compared to similarly priced XLR options.
Shockmount: Not necessary
Pop filter: Included, foam; an additional generic clip-on pop filter is recommended
Sample: (XLR)
Sample: (USB)

Blue Yeti (USB condenser): $130
The Yeti has been recommended for years as an inexpensive starter mic. Getting good sound out of it takes some work and additional gear: it needs a strong pop filter, it picks up a lot of room echo, and its included desk stand keeps the mic too far away for good sound. But it’s a great value, and under ideal circumstances — close-up use in a silent, soft room with a pop filter — it can yield excellent sound quality. (The Yeti has selectable pickup patterns. These were using the cardioid setting, which both Blue and I recommend for podcasting.)
Shockmount: Recommended, $70
Pop filter: Necessary, generic clip-on, $10+
Sample: (Desk stand)
Sample: (Up close, with pop filter)

Sennheiser MD 421-II (XLR dynamic): $380, plus a $100+ XLR interface
A good dynamic all-arounder with a smooth, warm tone, but a bit too muffled-sounding for me. I also have concerns about the cheap-feeling plastic shell and mount, which don’t belong on a mic in this price class. But like most good dynamics, it’s good at rejecting noise and room echo, and isn’t very picky, so it’s practical for home podcasting. It’s a good mic overall.
Shockmount: Optional, $60
Pop filter: Necessary, $35 or the $6 SM58 one fits
Sample: (1-step bass cut)

Telefunken M82 (XLR dynamic): $400, plus a $100+ XLR interface
Great sound for a dynamic when its High Boost switch is enabled, with great suppression of background noise and room echo as well. But it requires a powerful preamp, increasing the likely cost of your XLR interface. It’s a great alternative to the Heil PR 40, with similar gain requirements, no pop filter required, and a more even tone.
Shockmount: Optional, sold in $500 bundle with boom arm
Pop filter: Not necessary
Sample: (High Boost, Blackjack)
Sample: (High Boost, USBPre 2)
Sample: (Varying settings, USBPre 2)

Audio-Technica BP40 (XLR dynamic): $350, plus a $100+ XLR interface
Below-average sound, but great suppression of background noise and room echo, and easy to drive from any XLR interface. It’s a practical choice for home podcasters, like the Beta 87A — but I’d say the 87A has all of the same benefits with better sound, a lower price, and more versatility.
Shockmount: Optional, $100 (Bundle with mic at BSW)
Pop filter: Recommended, $32
Sample:

Shure PG42-USB (USB condenser): $250
A nice all-in-one USB mic with a headphone jack. Compared to the Blue Yeti, it’s much smaller and comes equipped with a shockmount to go on a boom arm rather than the Yeti’s inadvisable but included desk stand. It picks up more treble crispness and detail than the Yeti, but also more background noise and room echo. The PG42 also lacks the Yeti’s convenient mute button, and unlike most USB mics, cannot be soft-muted by apps like Shush. But it sounds incredible if you’re in a very quiet room full of soft things. (An XLR version of the PG42 is also available for just $130 — an incredible value for sound quality.)
Shockmount: Included
Pop filter: Necessary, generic clip-on, $10+
Sample: (with pop filter)

Sennheiser MD 441-U (XLR dynamic): $900, plus a $100+ XLR interface
A great dynamic all-arounder with a smooth, warm tone and a very high price for a podcasting mic. Like most dynamics, it’s good at rejecting noise and room echo, but it does need a good preamp to minimize background hiss. It’s a great mic overall, but I don’t think it’s better enough than the RE20 or MD 421-II for podcasting, which sell for half or less.
Shockmount: Not necessary
Pop filter: Necessary, $56
Sample: (1-step bass cut)

Neumann TLM 102 (XLR condenser): $700, plus a $100+ XLR interface
A well-regarded studio condenser mic that sounds great with no inherent noise, but is extremely unforgiving of room echo, and absolutely requires a pop filter and shockmount. It’s very expensive for podcasters, especially with the required accessories. For all of the cost and hassle, you do get what I consider the best-sounding microphone here — I love the way this sounds when the room conditions are right — but the improvement above other condensers here, like the inexpensive Blue Yeti, is pretty subtle, and it’s nearly indistinguishable from the much cheaper PG42 (the PG42 is a bit more harsh in the treble and “S”-sibilance pickup).
Shockmount: Necessary, $130
Pop filter: Necessary, foam ($50) or generic ($10+)
Sample: (with pop filter)

Sennheiser e865 (XLR condenser): $270, plus a $100+ XLR interface
Very similar to the Beta 87A and Neumann KMS 105, other small condensers made for stage vocals, but with a warmer and slightly muffled sound, and more background hiss. Like the 87A, it’s very good at suppressing noise and room echo, is easy to drive, and doesn’t need a shockmount or pop filter. But the 87A has all of the same strengths, at about the same price, with better sound.
Shockmount: Not necessary
Pop filter: Not necessary
Sample:

Heil PR 40 (XLR dynamic): $325, plus a $100+ XLR interface
A lot of podcasters love this, but it just doesn’t work for me. It needs a lot of power and an expensive preamp to sound good without hiss, and it has a weirdly unnatural sound: there’s way too much of the deepest bass, but seemingly no mid- or upper-bass, sounding “thin” overall but also with too much bass. I think people like it because the overabundance of deep bass makes them sound more like hypercompressed radio DJs, but it doesn’t sound right in the world of podcasting, influenced more by public radio and hobbyists, where a less-processed natural sound is the norm.
Shockmount: Necessary, $105
Pop filter: Recommended, $60
Sample: (Blackjack, with pop filter)
Sample: (USBPre 2, with pop filter)

Shure SM7B (XLR dynamic): $400, plus a $100+ XLR interface
I wanted to love this classic mic so much and spent a lot of time and money chasing that dream, but it’s outclassed by modern competitors in both sound quality and practicality. The SM7B lacks high-frequency detail, accentuates unflattering nasal-sounding midrange frequencies, unforgivingly picks up any room echo or background noise, and needs so much gain that some baseline hiss is always noticeable, even with great preamps. (Yes, I’ve tried the Cloudlifter — in a back-to-back test with and without it, after level-matching, I found that it made no audible difference.) If you like the warm sound and classic look from traditional radio studios, the Electro-Voice RE20 sounds better than the SM7B and is easier to power. For a modern look and more detailed sound, the Earthworks ETHOS is the same price and dramatically outclasses the SM7B.
Shockmount: Not necessary
Pop filter: Included, foam
Sample: (Blackjack)
Sample: (USBPre 2)

Shure Beta 58A (XLR dynamic): $160, plus a $100+ XLR interface
All of the practicality of the Beta 87A but with noticeably worse sound, sounding bass-heavy and somewhat muffled due to very weak treble pickup. Spring for the 87A if you can — it’s worth the difference.
Shockmount: Not necessary
Pop filter: Recommended, $6
Sample: (with pop filter)

Earthworks ICON USB (USB condenser): $350
An attractive mic made with heavy-duty, high-quality metal that sounds truly excellent — better than every USB mic I’ve tested to date — except for the noticeable background hiss from its built-in preamp. It comes with a low desk stand, but I recommend raising it up to face height with some books or boxes, or simply mounting it (with its excellent swivel mount) on a boom arm. Its practicality as a podcast mic is limited by its lack of zero-latency hardware headphone monitoring — you can’t hear yourself through the headphones (unless you use complex software that will introduce latency). If a future version offered zero-latency headphone monitoring, a headphone volume knob, and lower self-noise, it would be the best USB mic in the world, but I can’t recommend the current ICON for podcasting.
Shockmount: Not necessary
Pop filter: Included, metal mesh; a generic clip-on pop filter would help but isn’t necessary
Sample: (Up close)
Sample: (Desk distance)

Audio-Technica AT2020 USB Plus (USB condenser): $150
A solid contender among the other USB condensers. The Yeti sounds better to me and has a mute button, but is much larger and doesn’t mount easily to a boom; the PG42 is better equipped, but more expensive and can’t be soft-muted. Like most other condensers, the AT2020 is unforgiving of room echo and background noise, and absolutely requires a pop filter. And like the Yeti and Nessie, using its desk stand at a typical seating height isn’t recommended.
Shockmount: Necessary, $46
Pop filter: Necessary, generic clip-on, $10+
Sample: (Desk stand)
Sample: (Close up, with pop filter)

Blue Nessie (USB condenser): $85
Very similar to the Blue Yeti, but smaller and lacking the ability to be mounted on stands or booms. Go for the Yeti unless size is a major concern.
Shockmount: Not compatible
Pop filter: Not necessary
Sample: (Desk stand)
Sample: (Close up)

Rode Podcaster (USB dynamic): $230
The Podcaster is a convenient all-in-one USB mic, but its sound quality is poor, with a midrange emphasis that makes voices sound much more nasal and harsh. It also picks up a lot of background noise and room echo. It’s not awful, but I don’t think it’s worth its price.
Shockmount: Necessary, $40
Pop filter: Not necessary
Sample:

Apple EarPods built-in mic: free with any iPhone
When you plug the EarPods into any Mac made in the last few years, the microphone (built into the clicker remote) takes over from the Mac’s built-in mic. It’s not great, but because it’s so much closer to your mouth, it’s a lot better than using the built-in mic from sitting distance. And it says a lot that it’s not the worst mic here: I’d say it edges out the last couple because it’s not picky, it’s small, it doesn’t require any additional equipment, and you probably already own it.
Shockmount: Nope
Pop filter: Nope
Sample:

Blue Snowball iCE (USB condenser): $50
I can’t recommend this — the sound quality is simply too poor. In ideal conditions, it sounds harsh, and in anything less than ideal conditions, it amplifies every flaw. Even the best broadcaster in a silent studio would sound bad on this mic. And without a headphone jack for monitoring, it’s of limited usefulness to podcasters looking for a USB mic — the ATR-2100 is a far better choice in this price range.
Shockmount: Recommended, $43
Pop filter: Necessary, generic clip-on, $10+
Sample: (Close up)
Sample: (Desk stand)

Samson C01U (USB condenser): $60
I can’t recommend this due to its very audible, constant hissing noise in the recordings, indicative of poor-quality electronics inside. I haven’t tested the newer Pro model with the headphone port, but based on this test, it sounds like it has a similar noise problem.
Shockmount: Necessary, $25
Pop filter: Recommended, generic clip-on, $10+
Sample: