Tips on using Yeti Mic for recording podcast in Audacity


I am just starting out with recording in Audacity (2.0.3) on a macbook pro (OS X 10.8.4).

I will be recording myself reading from a novel, (installments to be sent out by subscription).

I want to create best quality I can with what I have which is a Yeti Mic. I would LOVE some tips from anyone familiar with Yeti mic for a similar purpose.

  • Am assuming Carotoid is best setting?
    My distance from Mic?
    MIc’s distance from computer?
    I enunciate syllables so create the hissing s’s and popping P’s and noisy B’s. Doesn’t happen when I distance from the Mic, but then my voice drops in volume, too. What to do?
    I read recently that a dynamic mic would have been a better choice than a condensor mic, which the Yeti is, I believe? Any way to compensate?
    I also do not have a dedicated recording space, so will be recording at home. (I posted another question inviting tips about space, too)
    Anything else useful to know? :question:

Big thanks!

That is likely to be the best for voice recording, so I’d certainly start with that setting.
Once you have some good clean recordings with that setting, then you can read up about the other polar responses and try them out - they may be useful at specific times.

Quite close.
You will need to experiment to find the “sweet spot”, but probably around 10 cm.
Use a “pop filter”.

To avoid picking up fan noise, as far as possible, but ensure that the mouse and keyboard are within easy reach (can be awkward with a laptop).

Not the answer that you want, but you will need to learn to talk without excessive “ess’ing”. sipping water helps to keep the mouth fresh - a dash of lemon juice in the water can be even fresher. “Ess’s” often sound worse than they really are when listening on headphones.

To counteract “plosives” (“B’s” and “P’s”), avoid blowing directly on the mic. As I wrote in your other topic: For high quality spoken voice recording, a "pop shield" is essential. Position the microphone so that it is slightly offset up or down from the line of your breath.

It’s a matter of taste. Generally I prefer the clarity of condenser microphones for spoken word recording. Dynamic mics tend to be more forgiving with excessive “Ess’ing”.

I’ve replied to your other post.

Cardioid (heart-shaped – or in Europe “kidney-shaped”) is the pattern you should probably start with, not for the quality of voice, but the pattern has reduced volume of echoes and sound arriving at the rear. This pattern has an odd problem called “proximity effect” where your low, robust announcing voice becomes prominent as you get closer. You know what this sounds like because every pub, club, and bar has somebody who insists on crowding the microphone on the stage and all you can hear is WOOM WOOM WOOM WOOM.

As you start to record yourself, you’ll start to recognize these problems.

There are ways to suppress this effect during recording, but the worst problem you can face is the likelihood of overloading the sound channel during the low notes – like when you get expressive during a passage. Cracking, snapping and popping overload is pretty much permanent. No filters. Sorry.

Here’s a pop and blast filter in a studio.

People make boom mounts for a Yeti. Doing that eliminates desk (but not paper) noises.