Pop filters — the mesh between you and the mic

What it does

Stops “p” and “b” sounds from popping the mic

Every time you say a word that starts with P or B, your mouth fires a small burst of air. That burst hits the microphone diaphragm and overloads it for a fraction of a second — the result on tape is a thumpy, distorted “pop.” A pop filter is a thin layer of fabric mesh or foam stretched across a frame, mounted between you and the mic. It scatters the air burst before it hits the capsule, but lets the sound through.

Two main types

Mesh-on-a-hoop and foam

• Nylon mesh pop filters. Two thin nylon screens stretched across a circular frame, on a flexible gooseneck arm. Most common. Examples: Stedman Proscreen, Auray PFL, On-Stage ASVS6.
• Metal mesh pop filters. A perforated metal disk, slightly more transparent on top end. Tougher. Examples: Stedman Proscreen XL.
• Foam windscreens. The bulb of foam that slides over the head of a handheld mic. Less effective for plosives at a desk, more effective outdoors against wind. See windscreens.

When you don’t need one

Built-in foam can be enough

Some microphones have heavy built-in foam already. The Shure SM7B has a thick foam windscreen on the front, and most singers don’t need a separate pop filter with it for normal speaking distance. The SM58’s ball grille acts as a pop filter for the same reason.

Most condenser microphones with bare grilles, on the other hand, absolutely need a pop filter or you’ll hear plosives on every other word.

Should you buy one?

Almost always yes for condensers