I'm sorry, but the second question isn't as easy to fix as the set up Durin was able to help with.  The reality is that, if you want studio grade recordings you need studio grade gear and acoustics.  The problem you're having is likely a mixture of the poor quality of mic inputs in modern computers (they're designed more for Skype phone calls than serious recordings), the back ground noises present in your room (things like computer fans etc.) and the hollow, echoey quality most normal rooms have.

That said, you may be able to improve things.

First off, be aware that your mic is very directional.  It has the best pickup straight in front of it with almost no pickup behind it.  Use this feature by arranging your set up so obvious noise sources are directly behind the mic (in what's called the null) and that your voice is straight into the grill, not slightly off to one side.

Second, use physics to your advantage.  Sound from a source diminishes rapidly with distance.  Every time you double the distance from a source, the amount of sound you get from it is quartered.  This means that moving farther from noise sources like your computer (and using the aiming trick in point one) can have a dramatic effect on quality.

Third, tweak the acoustics of your room.  When recording, stand in front of something soft--some thick curtains behind you can help, or, if this isn't possible, hang a quilt or something behind you.  Putting something behind you helps because of the directionality of the mic--most of the noise it picks up is behind you so something that absorbs sound helps.

Finally, the electronic noise caused by using the built in sound card.  Audition has some of the best noise reduction in the business.  Look under Effects/Noise Reduction/Restoration.  I'll leave you to read the instructions in the online manual rather than try to go into detail but, basically, you need to capture a noise print (highlight a section of the pure noise between phrases in your recording) then let Audition use that to work out what to cancel.  FYI, I find it get the best results by running the noise reduction several times with the slider set to low reduction and a new noise print each time  rather than one big process.

However, while all of the above should help, don't expect miracles.  If a professional studio could get greats results with a PG58 and a Realtek sound card, they wouldn't spend millions on gear and acoustics!

Good luck!

Bob Howes wrote:

 

If a professional studio could get greats results with a PG58...

Sometimes they use this type of mic for the edge of guitar amp speaker cones, but that's about all. And even then that would be the SM58, not the PG58 with its non-professional switch on it!

But like everybody else says - if you want to record speech, you need a mic designed to do the job, and a suitable sound device to interface it with your computer. The mic you have is primarily designed, as far as I can make out, for Karaoke singers.

Really, if you are on a budget you'd be better off looking for a cheap back-electret condensor mic for this sort of thing. Something like a Behringer B-1. I'd avoid the C-1, as it's not really quite what it's cracked up to be. The other thing to avoid if you can is mics with a direct USB connection - these are harder to get to work, and considerably restrict your placement to the length of a USB cable. Oh, and get a decent stand for it too, and a pop shield. At that point, if you do the rest of what Bob says, you'll hopefully end up with an acceptable result.

Woody_Labs wrote:

 

I think you're thinking of the SM57, which is the industry standard for miking guitar cabs, both in the studio and live. The SM58, while shares the same diaphragm, is quite a popular "go-to" vocal mic for live performance.

If you look, I only said type of mic - and quite frankly there isn't a whole load of difference between SM57s and 58s on guitar cabs, whatever anybody claims.