The stand is almost identical in terms of design, although the side screws have changed slightly. Image: Alex Walker (Kotaku)īeyond that, not much of the chassis has changed. You can also change the polar patterns through the G-Hub software. You can see one of four polar patterns available on the back, the same offerings as the original Yeti. There’s no difference in functionality, but the Yeti X’s buttons are easier to press. What’s mostly changed here is softer buttons that are more flush in the microphone chassis, instead of the rigid dial that required a little degree of force to turn. The rear of the microphone has the some polar patterns as the older Yeti, although most people will stick to cardioid. One of those is a multi-function dial on the front, with LED lights showcasing your audio levels in real-time, although it can also adjust the microphone gain, output from the headphone monitoring jack, and the blend of computer audio to microphone audio.
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More gamers know how to use basic mixers, although the Yeti X tries to subvert the cost and need of those through some handy tricks. Today, gaming microphones are a market unto themselves. But the Yeti became popular in a time where most microphones were either the ones attached to a gaming headset, or something you had left over from more “serious” audio equipment.
It is, after all, built on much of the same tech that made the Yeti one of the most popular microphones amongst gamers, streamers, YouTubers and content creators of all stripes. None of this is to say, by any means, that the Yeti X isn’t excellent at what it does. Some of those options cost money – a good boom arm and shock mount combo might be a couple of hundred dollars – while others are immutable things about the environment around your microphone that can’t be changed. Those are the tools that will always correct the biggest sources of terrible sound, which are almost always traced back to a mic sitting in a desktop stand, picking up every vibration or nudge of a desk or mechanical keyboard, a hideous echo caused by a high ceiling or hard surfaces all around you, someone recording next to a busy street, or even just not having a pop filter or something as simple as a sock. There’s some upgrades if you’re comparing the Yeti X against its predecessor, like the ability to record in 24bit, an extra condenser mic capsule, and the finer controls for adjusting noise reduction, compression and EQs through the Logitech G-Hub software.Īnd while that’s definitely helpful, and I’ll explain more in a bit, none of these options can have as big an impact as a shock mount, a boom arm, or a quick trip to Clark Rubber to get some foam for the walls.
I’m leading with the price because, ultimately, it’s the biggest factor that users have to consider. And there’s the cheaper Yeti Nano, which supports 24bit recording and the two most popular recording modes, cardioid and omnidirectional, from $149. Those cheaper options include the original Yeti for under $200, in practically any colour you want. The Yeti X in Australia retails from $289, placing it comfortably in the upper tier of the microphone market. But for that audience, the original Yeti is still a compelling option. Now, Blue has a sequel: the Blue Yeti X, a USB-only mic targeted at gamers looking to venture into streaming and bits of content creation. The Yeti has been enormously successful, paving the way for a generation of content creators looking for a plug-and-play USB microphone. Maybe it’s been in the foreground of a YouTube video, hovering somewhere on a Twitch stream, or maybe up alongside other desktop microphones at a convention somewhere.
Chances are you’ve seen the Blue Yeti before.
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