I hate Windows 8.

That is all.

The Yeti gets a seal of approval from me as well. Teague's suggestion would likely be better suited to your needs though.

Love you too, you French wanker.

It comes out of the box with a desk mount, but I am pretty sure it can be attached to any regular stand.

My voice has never sounded better than through a Heil PR-40.

Does anyone have any thoughts on the MXL 990 or suggestions for another large diaphragm condenser microphone?

I see your point. Here's my process for recording a typical episode of Sofa Dogs:

1. I use a Blue Snowball USB microphone on the middle/second setting. Using MP3 Skype Recorder, I record the Skype call I'm on with my co-host.
2. The file is saved as a 44.100 kHz, 128 kbps, Stereo mp3.
3. I open the file in Audacity and separate the left and right channels (me and the co-host, respectively), using the "Split Stereo to Mono" function. I'll delete one track and save the other, then Edit>Undo so I can delete the other track and save the remainder.
4. Taking turns, I'll open one file in Gold Wave and apply the Noise Reduction filter and then the Maximize Volume feature. Then they get saved, yet again.
5. Then I'll open both files in one Multitrack Session in Adobe Audition. That's where I'll do all my editing, before saving it one last time and uploading to Sofa Dogs.

Two things I'm hoping for with a purchase of a new setup:
1. Better gain so I don't have to bother with Maximizing Volume.
2. Better pickup on my voice and less pickup of everything else so I don't have to bother with Noise Reduction.

Basically, I'd like to greatly shorten my post-production time and process.

I completely agree with Teague. There's something in my setup (Samson CO3U recorded in Audacity) that often produces a significant drop in quality when output to MP3 even at 80 or 96 Mbps, whereas I notice other podcasts output at 64 Mbps or even lower don't seem to suffer the same slight digital muddiness. If I were a better audio engineer, I'd figure it out. Maybe it has to do with sample rate or the LAME engine or something.

And of course mike technique is a huge factor. It always bugs me to hear podcasts recorded with headsets, and the speaker jams the mike against his lips like an airline pilot and pops every plosive in the language.

EDIT: re: John's Goldwave mention.... Noise reduction in Audacity is really quite good now and has been for 3 or 4 versions. Same with compression, which used to be disastrous. I use compression to raise whole tracks if they were recorded quietly (I process other people's commentaries sometimes before listening to them because it annoys me when they don't sound decent) but otherwise use it pretty sparingly because it's effects are not as predictable as I'd like.

ADDITIONAL EDIT: Teague is too modest. FIYH always sounds professional quality.

You know what else occurred to me the other day? Instead of going the hardware route, it might be beneficial to go the software route. as in a virtual mixer. From what Teague is suggesting, Audition can already be used as such, I've just never bothered messing with all of those other features. I usually just use it for editing.