thank you so much for the help
I haven’t helped much yet.
There’s a difference between two channel and “stereo.” It’s not unusual to get a microphone to appear on two different Audacity tracks. I have a couple of microphones that can do that. But when you compare the two sets of blue waves, you find that they’re perfectly the same. So when you wave your head back and forth to get the ping-pong effect in your headphones, nothing happens. I understand you need ASIO software to get a Yeti to deliver actual stereo (different left and right tracks) and Audacity doesn’t directly support ASIO.
i had to really change my voice and push my mouth right up against the yeti to get that effect
I did a woman that way once. I’m normally a male bass. Lauren Bacall’s voice was lower than Humphrey Bogart.
i have a dog and her nails click on the floor a lot.
If you’re recording in a modern, bare-wall room with wooden floors, good luck. Those are considered hostile recording environments by pro recordists.
The cardioid setting for the Yeti means it sucks sound in from the front better than the back. Attached at bottom. Also known as “kidney pattern” for the obvious reasons. Aim the back at the dog.
The microphone in the picture is a lot easier to tell where to talk than an upright microphone like the Yeti. Make sure you’re talking into the Blue logo side.
If you are, then that’s as good as it gets with that microphone and a lot of others. It doesn’t matter how close you are to the microphone as long as you jockey the volume controls so you don’t overload anything. Never let the Audacity red recording meters go all the way to the right. That causes permanent sound distortion.
Now it’s hard. I would be solving this with one of two microphones. I have a theatrical headset microphone that is remarkably good at ignoring room noises, but it needs a microphone amplifier system or mixer and digitizer. None of them cheap. The other way to force this to work is a shotgun microphone used in interview configuration.

I believe that’s a Rhode microphone under the foam blast filter at several hundred dollars.
Many people determined to record with the microphones they have try to make a studio. That’s what Ian, another poster, did. He turned a broom closet into a studio by pasting sound proofing panels on the walls and heavy carpeting on the floor. He still has occasional microphone technical problems, but it works OK and I believe he’s a published presenter/announcer.
So there you have it. You can cheat, too. Heavy background music works wonders to cover up doggy noises.
Koz
