Best Microphones for Professional Interview Recording: Which One to Buy

For most interview recording, a dynamic broadcast microphone such as the Shure SM7B or Electro-Voice RE20 suits a studio, a Shure MV7+ or Rode PodMic USB suits a simple desk setup, and a handheld interview microphone or a portable recorder is the best match for work on location. The right choice depends on where the interview is recorded, how many voices are involved and whether the buyer already owns an audio interface.

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At a glance

Understand the main microphone types first

Dynamic microphones are robust and reject room noise well, which makes them the usual choice for untreated rooms and for interviews recorded outside a studio. Condenser microphones capture more detail but also pick up more of the room, which helps only in a quiet, treated space. Shotgun microphones concentrate on sound in front of the mic and are common for video interviews. Lavalier microphones keep a steady level on the speaker. Most professionals choose a dynamic microphone unless the room is controlled.

Studio standards: Shure SM7B and Electro-Voice RE20

The SM7B appears in countless podcast and broadcast studios. Shure describes it as a cardioid dynamic with a flat, wide-range response, and the housing includes a pop filter plus controls for bass roll-off and mid-range emphasis. The major catch is that its output is low, so it needs an audio interface with plenty of clean gain or an inline preamp booster. Reviewers generally rank it highly for warm, controlled voice recording.

The RE20 is an Electro-Voice broadcast classic with a variable-D design that reduces the boominess you get when the speaker moves close to the microphone. It is bigger than the SM7B and also benefits from a good preamp. Both are premium tier choices if the budget stretches that far, and both reward a quiet room and a boom arm.

Desk-friendly options: Shure MV7+ and Rode PodMic

The Shure MV7+ combines a dynamic capsule with both USB-C and XLR outputs. This means it can start on a laptop and later move into a larger setup. Shure also provides an app with presets, which is helpful for newcomers. The Rode PodMic provides an XLR dynamic microphone with broadcast tuning at a more affordable tier, and the PodMic USB version adds a built-in interface. Reviewers describe both as good starting points that hold up well in untreated spaces, though they lack the finish of the top studio dynamics.

Field interviews: handheld mics and portable recorders

For location work, a handheld dynamic like the SM58 or an omnidirectional reporter microphone such as the Rode Interview PRO is the traditional approach. They are simple, rugged and easy to pass between speakers. For a two-person interview, a portable recorder such as the Zoom H5 or H6, with XLR inputs and phantom power, lets you record two microphones to separate tracks, and many models can record at a safety level on a second channel. Another option is a wireless lavalier set, covered in the wireless lavalier systems guide, when the speakers need to stay mobile.

Connection and compatibility notes

• XLR versus USB: XLR mics need an interface or recorder. USB mics plug straight into a computer or phone, but are limited to one channel per device.
• Gain needs: Low-output dynamics like the SM7B and RE20 need an interface with enough clean gain, or an inline booster. Check the interface’s stated gain range.
• Boom arms and shock mounts: Use them to isolate from desk bumps. Plan for a stand that can handle a heavy microphone like the RE20.
• Pop filters and windscreens: Even mics with built-in filters benefit from a foam windscreen outdoors.
• Two-person interviews: Use two matched microphones and record them to separate tracks so each voice can be balanced later.
• Room: Soft furnishings, rugs and curtains reduce echo, and often improve results more than a more expensive microphone.

Pick X if …

Alternatives

• Audio-Technica ATR2100x-USB: A budget-tier dynamic with both USB and XLR outputs.
• Sennheiser MKE 600 or similar shotgun: Useful for on-camera interviews where the mic is out of frame.
• Wireless lavalier sets: Good when speakers move around or when a discreet look is required.

Budget tiers and what to expect

At the budget tier, a dynamic microphone such as the Shure SM58 or Rode PodMic gives usable interview audio when the room is quiet and the mic is close to the speaker. At the mid-range tier, USB and hybrid models such as the MV7+ add convenience, an app and often a headphone output. At the premium tier, the SM7B and RE20 reward a good interface and a well-managed room. The interface itself is part of the cost for XLR microphones, so include it in the budget.

Technique matters as much as the model

• Keep the microphone a few finger widths from the mouth, aimed slightly off-axis to reduce plosives.
• Keep the distance steady, because dynamic microphones change tone as the speaker moves.
• Set levels so that speech peaks comfortably below clipping, leaving headroom for excited moments.
• Monitor on closed-back headphones so that problems such as hum, rustling and air-conditioning noise are audible.
• Record a few seconds of room tone at the start of each session, which helps with noise reduction later.

Remote interviews

For interviews held over the internet, each participant should record their own audio locally if possible and share the files later. A decent USB microphone and a quiet room give much better results than a laptop microphone. Guests should use headphones to avoid echo and turn off notifications that make noise.

Frequently Asked Questions

Is a dynamic or condenser microphone better for interviews?

For most interviews, a dynamic microphone is the safer pick because it ignores much of the surrounding room. A condenser captures more detail but demands a quiet, treated space. If your room is noisy or echoey, choose a dynamic.

Do I need an audio interface?

Only for XLR microphones. USB microphones such as the MV7+ or PodMic USB connect directly to a computer. A portable recorder also removes the need for a separate interface.

Why does the SM7B sound quiet?

It has a low output level by design. Using an interface with enough clean gain or an inline preamp booster fixes this. Poor preamps may add hiss at high gain.

How should I record two guests?

Give each guest their own microphone and record to separate tracks. This allows level balancing and noise reduction later. A multi-input recorder or interface is needed for this approach.

What is the best microphone for outdoor interviews?

A handheld dynamic or an omnidirectional reporter microphone with a windscreen is the traditional pick. A wireless lavalier is another good approach. Wind is the main enemy, so carry a furry cover.

Does a more expensive microphone guarantee better audio?

No. Room treatment, mic distance and gain staging matter as much as the model. A modest dynamic mic used correctly in a quiet room often sounds better than a premium mic in a noisy one.