Plosive Prevention Recording

Plosive consonants create bursts of air that cause low-frequency thumps when they reach microphone diaphragms. Preventing these sounds at the source produces cleaner recordings than trying to fix them afterward.

Understanding Plosives

Plosive consonants include P, B, T, D, K, and G. The sounds are created by building air pressure behind a closed mouth position and releasing it suddenly.

The burst of air moves much faster than the sound it produces. This air column, rather than the acoustic sound, causes the microphone problem.

Large-diaphragm microphones are particularly susceptible because their large surface area catches more air. Small-diaphragm microphones resist plosives somewhat better.

Pop Filter Solutions

Pop filters are screens placed between the singer and microphone that disperse air bursts while allowing sound through. This simple solution addresses most plosive problems.

Dual-layer mesh pop filters work better than single-layer designs. The air disperses through the first layer and the second layer catches any remaining burst.

Metal mesh pop filters disperse air without the slight high-frequency absorption that fabric filters can cause. The trade-off involves less complete air blocking.

Foam windscreens placed over the microphone provide some protection but less than positioned pop filters. They’re useful as supplementary protection.

Pop Filter Positioning

Standard pop filter placement positions the filter two to four inches from the microphone capsule. The singer works at the filter’s distance, not closer.

The filter angle should match the singer’s typical direction. Angling the filter helps when singers tend to look up or down while performing.

Distance between pop filter and singer affects effectiveness. Closer positioning provides more protection but may create psychological barriers for some performers.

Microphone Positioning Alternatives

Positioning the microphone above the singer’s mouth and angling it downward points the diaphragm away from the direct air path. Plosive bursts move horizontally while the microphone captures sound arriving from below.

Off-axis positioning places the capsule to the side rather than directly in front of the mouth. This keeps the microphone out of the direct air path while still capturing the voice.

Distance increase reduces plosive impact. Moving from six inches to twelve inches dramatically reduces plosive severity, though it changes the recorded tone.

Singer Technique

Experienced vocalists develop technique that reduces plosive air output. Directing air downward or to the side while singing P sounds prevents direct microphone impact.

Reducing the explosive force of consonants softens plosives without affecting intelligibility. This subtle technique takes time to develop.

Turning slightly away from the microphone during known problem words provides quick solution for specific issues.

Post-Recording Plosive Repair

Despite prevention efforts, some plosives may record. High-pass filtering can reduce their audibility by removing the low-frequency thump component.

Specialized plosive removal tools in audio editors address plosives more surgically. These tools identify and reduce only the plosive events.

Manual editing can reduce individual plosive events through volume reduction or careful cutting. This time-intensive approach works for occasional severe plosives.

Prevention Priority

Preventing plosives during recording produces better results than fixing them afterward. Repair tools work but never fully restore natural sound.

Combination approaches using pop filters, thoughtful positioning, and singer awareness address plosives comprehensively. Multiple layers of prevention catch problems that single methods miss.

Testing for plosives before committing to final positioning catches problems early. Having the singer deliver a P-heavy phrase reveals positioning effectiveness.