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Are all pop filters the same?
I’m looking to get a pop filter I can take around with me on interviews. I see so much variety online, and given the simple science of plosives, I’m wondering if more expensive options are really any better or if a simple 20, 25 dollar pop filter will do the same thing?
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9 Replies
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If by pop filter you mean the foam sleeve that slides down over the mic grill then yes they’re all pretty much the same in results. There are also fur covered wind filters that are made for specific mics that do the best of eliminating wind noise. Look up https://www.rycote.com.
\”I push the RECORD button and hope for the best\”
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There are also the type of pop filters that mount to your mic stand and have a “hoop” on a gooseneck that bends to place it in front of the mic. You will see pretty cheap versions of these (around $15) that have a nylon material over the hoop. These are ok, but at that price I would think it is not very robust and might fall apart in a hurry. The next advance is a double layer of nylon to catch even more plosives (about $25) . And finally there are metal ones like the Stedman ($69). There are a few more choices in between that should work fine. I would go with one of the more robust ones. I personally use the Stedman. I think it works great, but with all of them the trick is really in placement so it catches the puffs of air, but allows the sound to get through unaltered.
I have heard of many people making their own out of a crochet hoop and women’s nylons. If you’re handy, that could work, but I think the commercial ones sure look better!
Have fun!
Rob
Rob Neidig
R&R Media Productions
Eugene, Oregon -
Yeah, that’s what I’m thinking of buying. I’ll look into the Stedman. That’s the piece of gear where I’m wondering if 60 bucks is worth more than 20. Your point is noted.
I’ve always tried to place it directly between the mouth and mic. Am I doing that wrong?
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Hello Noam, and welcome to the Cow Audio Forum.
Everyone has done such a marvelous job laying it out for you. Thanks, Guys.
My only question is what is your application?
Regards,
Ty Ford
Cow Audio forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
What do you mean by application? I use it for radio journalism so I can set the shot up however and not worry how it looks if that’s what you mean.
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Hello Noam,
Radio Journalism, but on camera?
What mics are you currently using and how closely will they be worked?
If the visual is important, then why not head-worn mics instead of mics on a boom?
The “real radio” look is an EV RE20, RE27, Shure SM7, or Neumann in a suspension mount.
Also, historically, an RCA 77DX or 44B.
Watchoo got?
Regards,
Ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
No, I meant it’s only audio. It can look however it wants!
I usually have an AT4053b on a mount about 6 inches to a foot away from the face. And I have an AT 8537 as backup that I attach to the talent (although, that said, the audio dropoff is significant between the two. I record to a Zoom H6, and after boosting the lav enough to get good levels, I usually get a lot of noise.)
I’m now thinking I’ll move my mic a touch back so I can have a few inches between the filter and the mic……
Other thoughts? You guys rock (and I even own your book, Ty!)
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Ah, well a 4053B doesn’t like being eaten.
I don’t understand. The AT8537 is not a mic, but a power supply for a mic. I guess you’re using that with a lav and when boosting you get “noise.” That noise could be because the lav is less sensitive (smaller diaphragm) or because it’s an omni and picking up room/environmental noise. If worn on the body, yeah, that can be too far away especially in a noisy environment.
Even a lowly Shure SM58 with an added foam filter might be an improvement. Oh, except when you have guests who know nothing about mic technique and sit back too far. Then, the head mounted mics really work best. Like this Countryman E6.
It’s an omni, but because it sits on the cheek, you really can’t pop it and it’s so close to the mouth that it gives you better level than a lav on the body.
make sense?
Regards,
ty Ford
Cow Audio Forum LeaderWant better production audio?: Ty Ford\’s Audio Bootcamp Field Guide
Ty Ford Blog: Ty Ford\’s Blog -
[Noam Osband] “I usually have an AT4053b on a mount about 6 inches to a foot away from the face.”
I’ve got an AT4053b. I’ve tried it that close, and mine is not fond of having that done to it. It’s really tuned more like a booming dialog mic, designed to be used above the head and out in front, pointing down at the mouth at about a 45 degree angle. Puts the mic about 45-60 cm away from the mouth, and way out of the “pop stream” so plosives don’t register. It’s actually a very popular booming mic on the indy movie circuit.
I’ve used mine for bunches of sit down interviews of people. I typically sit the interviewee in a chair with arms to limit their side to side mobility so they can’t drift out of pattern on the mic. I did have one woman who liked rocking forward and back that was difficult and unexpected. She did make it out of pattern a few times. Spend some post time on that one. Sigh…
The AT4053b has a significant proximity effect. Using it closer than around 50cm to the mouth begins to ramp up the bottom end. I would imagine that using one from 15cm out gives you a significant “voice of God” effect. If you like that but don’t like the plosives, and you don’t care what it looks like, take the mic out of the pop stream by rotating it 90 degrees so that it points directly across your mouth and a bit in front, maybe 3-5 cm. I’ve not actually tried this, but it should significantly ease your plosives problems. The point of course is that you not “speak into the mic” but speak across it. Non-intuitive, but that doesn’t mean it won’t work. 😉
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