You’ve dialed in your mic gain, treated the room, and hit record. Everything sounds great—until it doesn’t. Suddenly, a stray P or B explodes through the track like a tiny grenade. That’s a plosive, and if you’re recording vocals, you’ve definitely dealt with them. Probably more than once.
The good news? Plosives aren’t complicated to fix. You just need the right filter and a few mic positioning tricks. This guide breaks it down so you don’t have to waste another session cleaning up air blasts.
What Are Plosives?
Plosives are the short, sharp bursts of breath that are produced by some consonants, namely, mainly P, B and T. You can easily forget them when you are talking or singing, but when that air reaches the microphone capsule straight on, it produces an ugly low-end thud that ruins the take.
They do not bring personality. They do not bring warmth. They simply destroy recordings.
And the most terrible thing is that– They are typically not obvious until you play it back.
The Job of a Pop Filter
Pop filters are your first line of defense. They don’t change your tone, EQ, or dynamics. Their only job is to catch those sudden bursts of air before they slam into the mic.
Now, not all pop filters are built the same. And not every one of them is worth your money.
Nylon vs. Metal: What’s the Difference?
Nylon Pop Filters
The classic. You’ve seen these everywhere—dual-layer mesh stretched over a circular frame. They’re affordable, widely available, and generally reliable for most home studios.
Take the Aokeo Professional Pop Filter, for example. It’s straightforward and does the job, assuming you’ve mounted it right. But it does cut a bit of top-end detail, which matters if you’re tracking airy vocals or detailed speech.
Metal Pop Filters
Metal mesh pop filters are a step up. Instead of absorbing air, they redirect it downward using perforated surfaces. The result? Better airflow control and a cleaner high-end response.
The Stedman Proscreen XL is a standout here. No weird tonal coloration. No high-end roll-off. It just stops the blast and keeps everything else intact.
They’re pricier, but if you’re recording professionally, the difference is obvious in the final mix.
Foam Windscreens
Foam windscreens are more of a side tool than a solution. They’re great for handling wind noise during outdoor shoots, but when it comes to studio vocals? Not ideal. Foam doesn’t diffuse plosives effectively. It muffles them.
Use them with handheld dynamic mics in a pinch. But don’t expect them to save a condenser mic from a plosive hit.
The Mic Placement Fix
Even the best pop filter won’t help much if your mic technique is wrong. That’s where most people slip up—especially beginners.
1. Angle the Mic
Do not point the mic towards your mouth. That is what makes the problem in the first place.
Rather, angle it off-axis about 30 to 45 degrees so that you are talking past the mic and not into it. Your voice is still audible, however the air pressure flows around the capsule and not into it.
2. Distance Matters
Too close, and you’re asking for plosives. Back up just a few inches—usually five to seven—and your recording instantly sounds more natural. Not only will this reduce plosives, but it also prevents low-end muddiness from proximity effect.
Use your pop filter as a physical spacer. If your lips are pressed against it, you’re doing it wrong.
3. Breath Control
This one takes time. But good breath control—learning to soften plosives with subtle shifts in airflow—goes a long way. Trained vocalists and seasoned VO artists do this without even thinking about it.
It’s not a quick fix. But over time, it makes your takes cleaner, even without filters.
Not All Mics React the Same
Condenser mics—especially large-diaphragm models like the Audio-Technica AT4040, Rode NT1, or 5 Core RM-7—are extremely sensitive. That’s great for detail. But it also makes them magnets for plosives.
Dynamic mics, however, are more lenient. The Shure SM58, Electro-Voice RE20, and 5 Core ND-7800X all manage plosives fairly well, particularly when used with a windscreen or filter.
Ribbon mics? Handle them with care. They’re fragile and react badly to strong air pressure. Always use a filter and never speak directly into it.
Recommended Filters That Actually Work
If you’re not sure where to start, these are dependable, tested, and easy to set up:
- Stedman Proscreen XL – Industry standard for serious vocal tracking.
- Aokeo Professional Pop Filter – Great budget option, works well for home setups.
- Gator Frameworks Metal Pop Filter – Clean design, reliable clamp, solid diffusion.
- Heil Sound PRSM-B – Less known, but excellent in terms of tone preservation.
Clamp-style mounts tend to be more stable than flexible goosenecks, which often sag mid-session. If you’re constantly adjusting your filter, you’re breaking focus. Spend a few more bucks and get one that stays where you put it.
Final Thoughts
There’s nothing high-tech about stopping plosives. You don’t need plugins. You don’t need fancy gear. What you do need is a solid pop filter, a bit of distance, and the awareness to stop blasting your mic with air.
Fix it at the source. Record clean. And save yourself hours of editing later.
Because a perfect vocal take isn’t worth much if it sounds like someone’s punching the mic every third syllable.