This is true but also very complicated. I have tried very expensive microphones and I have tried cheap microphones and which one is better is conditional to location, and deployment.<p>I use a røde lavalier tieclip which is awesome, and surprisingly cheap. It's also very omni. I had a USB-C enabled podcaster microphone which was awesome and very directional but it also was a giant lump in front of my face in zoom.<p>On the whole, a tieclip and some minor level setting works, but I just can't control the lawnmower outside and with an Omni, it's leaking in.<p>getting high Q sound and directionally limited but not in your face in anything but a pro sound studio is hard. I suspect the sound isolation in a studio also has some issues: a certain amount of the real world leaking into your voice isn't a bad thing. "it depends"<p>also: get trained. My company paid for me to do a course with the Australian Film and Television School and it was delivered by a far north queensland radio professional who was not condescending, not nasty, and very good at explaining how to do speak-to-microphone without a crew to help you. Worth every penny. Oh yea: those "ad hoc" recordings? 99% planning. There is no such thing as ad hoc in the radio, if you can avoid it.
I don't know... I bought an expensive mic with a budget at a prior role, but it kept picking up background noise more than my mac would, and ultimately it's sitting in the garage.<p>The difficulty of testing, getting feedback, setting audio devices reliably, muting, adjusting settings (my mic had literally 5 different audio forms, all of which picked up too much background noise), etc made it seem like a huge nightmare for potentially inferior results.