- Always use a pop shield between the singer and the microphone. Failure to do so will almost certainly result in unnatural 'pops' on plosive 'b' and 'p' sounds that can't be fixed in the recorded audio afterwards. The pop shield may be a commercial model or a DIY job comprising stocking material over a wire coathanger frame , or even a fine metal or plastic sieve or chip-pan splash guard. Any of these will do the job without affecting the tone of the mic. Foam wind shields are virtually useless in combating pops.
- Put the mic at the right distance, because if you get too close to it you'll increase the risk of popping and the level will change noticeably every time the singer moves slightly. Cardioid mics also exhibit a bass-boost 'proximity effect' that varies as the singer's mic distance varies. On the other hand, if the singer is too far away from the mic the room reflections will colour the sound, making it seem remote and boxy. As a rule, a mic distance of around six to nine inches (15-24 centimetres) is ideal.
Question What can I do to avoid unnatural 'pops' on plosive 'b' and 'p' sounds in my recordings Answer Please see the tips below:
Keywords: How to avoid pops on plosive 'b' and 'p' sounds