It’s time to move away from using your iPhone for audio. From a technical standpoint, the microphone in a phone is not optimal for recording high quality vocals. The mic (a MEMS microphone) is limited in the frequency range and dynamic range because of its miniature size. This means that your vocals won’t be as full as they could be and the sound will feel flat and lifeless.

You’ll notice in this guide there are also no USB style mics. The reason for this is because USB microphones, by their nature, are underpowered. Even though the upside to USB mics is low cost, the downside of being underpowered is a lack of dynamic range (input loudness) before becoming overpowered and distorting. You’ll find that USB mics don’t have the input loudness range of the XLR equivalent. You're going to want a microphone that plugs into an XLR cable. 

(To be technical, just look at the usable voltages...USBs run on 5 volts, Standard condenser phantom power is +48v and tube mics can be upward of 200v. Voltage directly correlates to how much loudness the mic can pick up before maxing out and distorting)

Dynamic & Condenser

Some information before you start searching for a new microphone:

Dynamic mics are not powered, but instead generate a voltage or current from the action of sound waves hitting the diaphragm. Because of the design, dynamic mics tend to have an increased “warmth”, depending on the mic and the sound source. You’ll often see dynamic microphones like the Shure SM7B or the ElectroVoice RE20 on streaming, podcast or radio programs as they are a go-to for warm vocal ranges. The physics of dynamic microphones means a higher cut off from distant sounds like room tones, reverbs and noises outside. Some dynamic mics also have windscreens built into their design, so popping consonants like “p” and “t” aka “plosives” don’t impact them as greatly. 

For all the upsides, there's a potential for a downside. Sometimes the “warmth” in the frequency range can become “muddiness”, in certain brands, voices, and conditions. This sounds more like a loss of clarity, and can come from a boost in the wrong mid/low frequencies or a cut in the high end clarity frequencies. Brands with a built in windscreen may experience the loss of high end clarity, which can limit the use of dynamic microphones for vocal production in the studio. Also, dynamic microphones need louder input to create the same level of sound vs a condenser mic, generally speaking. This same principle, however, means that a dynamic mic can withstand higher SPL, Sound Pressure Level, or quite simply, more loudness. This could actually be advantageous when recording very loud instruments. 

If you’re using a low gain dynamic microphone like an SM7B or an RE20, you may need to look into a Cloudlifter to help boost the output gain of the microphone without raising the noise floor. This will save you from needing to crank the interface input gain (which will cause even more problems like hiss and feedback).

A search through Twitch will reveal the SM7B/cloudlifter combo as one of the most popular in the community.

Condenser mics can be thought of as the opposite to dynamic microphones. Condensers pick up significantly more sound and frequency range, and are used more in recording studios, generally speaking. They require +48 volts of “phantom” power so you have to make sure your interface has this feature (most do, more on that shortly). 

The added frequency response can be a problem if you have an abundance of reverb or liveliness in your room, studio, or recording space. You may see some streamers and podcasters who use condenser mics, but they usually use them in studios with lots of sound absorbing material to limit their room’s reverb.

Condenser mics will also need a pop filter because when they are addressed straight on, popping or “splosives” can overpower the output temporarily.  A pop filter works to diffuse the bursts of air before they hit the microphone thus reducing plosives. They also psychologically force you to keep your distance from the mic, helping with volume control. If the mic doesn’t come with a built in or attachable pop filter you should look to buy one.

Some models of condenser mics use higher grade electronics to achieve specific tones and textures, like the FET sound of a Neumann TLM 103 or the Tube sound of an AKG C12. However a quick online search will show these microphones are a budget bracket above the normal beginner. Their sounds, though, are refined and distinct when used properly.

Mounting the mic or mic clip assembly is important. Much like cables, microphone stands serve only one specific purpose - to mount the mic clip or shock mount that holds the microphone. Microphone stands come in a variety of models. Some models are pricey because of extra features that, as a beginner, you don’t need to worry about.

An alternative to a mic stand is a mic boom arm that clamps onto the edge of a table or desk. This is a good option if you are streaming or podcasting,  

Almost every mic you’ll find comes with a mic clip. Some condenser mics come with an isolated mount called a shock mount. This helps isolate vibrations collected by the mic stand (e.g. foot stomps passing from the floor, up through the mic stand and into the mic, or sounds from a desk vibrating up through a boom arm). You may need to invest in a “universal shock mount” if your condenser mic didn’t come with one. Universal shock mounts are simple and easy to find online. It is recommended that you get a universal shock mount if you’re using a mic boom arm for streaming.