Here are some key considerations for a live sound engineer when selecting a pop filter:
- Material – Pop filters are usually made of nylon, metal or foam. Nylon is durable and provides good sound dampening. Metal can be sturdier but may have more resonant frequencies that colour the sound. Foam is soft and eliminates plosives well but may deteriorate over time.
- Size – The pop filter should be larger than the head of the microphone so it can fully block plosives1 from hitting the mic diaphragm. Size needs to be balanced with not blocking the performer’s face too much.
- Mounting – Pop filters come with clamp mounts, gooseneck mounts or are mounted in a fixed position. Clamp mounts provide the most flexibility for positioning. Goosenecks hold position better but are less adjustable.
- Frequency response – A quality pop filter will provide even dampening across frequencies. Cheaper filters may only filter out midrange and fail to catch lower plosives. The frequency response range should match the microphone.
- Proximity to mic – Pop filters work best around 2-6 inches from the mic. Any closer and plosives may still reach the mic. Too far and it starts to colour/dampen the voice unintentionally.
- Durability – Pop filters for live use should withstand wear and tear from travel and regular use. Metal screens hold up better than fabric over time.
- Aesthetics – In video and broadcast settings, an all black pop filter may look better than a coloured nylon screen. For live shows, appearance may not matter.
The right pop filter helps reduce plosives and sibilance for a cleaner vocal sound in a live setting. An engineer has to balance acoustic performance, durability, positioning and visual factors when selecting the best model.
- Plosives are the kinds of sounds usually associated with the letters p, t, k; b, d, g, in which air flow from the lungs is interrupted by a complete closure being made in the mouth.