ASMR Gear Guide

Fix your room first, start with a USB microphone unless you already know you need two inputs, and raid your kitchen for props. This page suits creators deciding where the first money goes. Skip binaural microphones and premium condensers until your room and basic technique are solid.

Where to spend your first dollar

Acoustic treatment gives more improvement than a pricier microphone, and post-processing cannot fully undo a bad room. The most effective low-cost fixes are mass and soft material: heavy curtains, a sofa or armchair in the recording area, rugs on hard floors, books on shelves, and moving blankets hung behind the microphone and your seat. Recording in a closet full of hanging clothes is a well-known low-tech option, though space is limited.

• Treat the reflection points first: the wall the sound hits and bounces back from.
• Order of spend: room, then interface if you need one, then microphone, then accessories.

USB or XLR

USB microphones have the converter built in. XLR microphones need an interface, a cable and sometimes a separate preamp, so the real cost is higher than the microphone alone.

• Choose USB if: you use one microphone and want simplicity. For typical ASMR the quality difference against an XLR condenser on a basic interface can be small.
• Choose XLR if: you need two microphones at once, a physical gain knob, outboard processing, or the lowest self-noise. Interfaces also often offer low-delay headphone monitoring.

The page mentions the Blue Yeti and AT2020USB+ as USB examples, and the Rode NT1-A with a Focusrite Scarlett Solo as an XLR route. Higher-end condensers such as Neumann models exist but you do not need one to start. Check each maker's published spec and current price.

Binaural: only for specific content

Binaural microphones record the way ears hear, which helps most with ear-to-ear whispering and close personal attention. A regular cardioid condenser works for tapping, scratching, roleplay, nature sounds and whispering. For meditation soundscapes or object tapping, save the money. For eating sounds, some creators place a small microphone close to the mouth, since closeness to the source matters more than microphone class.

Props that sound good

• Glass and ceramic: jars, mugs and bowls give clear, ringing taps. Wine glasses sound a little richer.
• Wood: wooden spoons, chopsticks and cutting boards make warm, dry taps.
• Cardboard and paper: corrugated cardboard is good for scratching and costs nothing.
• Metal: thin tins ring; thick solid metal just thuds.
• Silicone and rubber: soft squeaks and releases, worth adding if your audience likes them.
• Crinkle: cellophane, foil, chip bags and tissue paper.
• Brushes: a soft paintbrush or makeup brush over fabric or skin, or a hairbrush dragged across a windscreen.
• Sand: kinetic sand sounds dense and sticky, regular sand dry and quiet.

Test a prop on your microphone before building a video around it. What looks nice does not always sound nice.

Handling noise and stands

Any contact with the microphone sends rumble into the recording. A shock mount suspends the microphone and is worth buying separately if yours did not come with one. Tabletop stands pass tapping vibration up through the base, so put them on a separate, heavier surface or add a decoupling pad. A boom arm with tension cables holds the microphone steady and keeps the desk clear for objects.

Pop filter and windscreen

For whispers and soft speech, a pop filter or foam windscreen reduces plosives and breath noise. For tapping with no voice they are unnecessary.

Software

Free software covers most editing. iZotope RX is a paid noise-removal tool that is only worth it if noise is your recurring problem. We have not tested these products. See also microphone guidance.