Nearly every photograph of a voice over talent at the mic in a studio session includes a pop filter.

Just because they’re everywhere, does that mean you really need one? Are there ways you can position yourself to speak across and or over the microphone and not directly into it to get the same result?

Share your experiences and let us know what do you think in today’s Vox Daily.

Why Pop Filters?

Pop filters are handy.

They help to minimize plosives like Ps and Bs and can cut down on sibilance (the hissing noise that can come from overly apparent S sounds).

Using a pop filter cuts out issues on both the high end and the low end making for easier editing of the recording.

In my opinion, the pop filter is a beautiful thing and does have its place. Pop filters are great tools for singers and actors alike who want help achieving the best possible performance.

Want to Make Your Own Pop Filter?

You can buy pop filters from a supplier, or, if you’re particularly creative, you might consider making your own pop filter for your home studio (DIY Pop Filter tutorials are easily found online!).

Some coaches encourage voice talent to speak across the microphone or over it instead of speaking on axis with closer proximity to the microphone using a pop filter.

As you can see, there are different ways of using the pop filter (or not using one).

Don’t Have a Pop Filter or Won’t Use One?

Here are a few tips you can use to get a similar result:

  1. Speak Off Axis (not directly into the microphone but from a different angle)
  2. Smile when you speak to prevent popping of Ps and Bs
  3. Put a pencil in front of your lips to create a barrier that helps break the air

What Do You Think About Pop Filters?

Do you feel that pop filters are necessary, or, do you use a different technique that works just as well?

Looking forward to hearing from you,


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Stephanie Ciccarelli is the Co-Founder and Chief Brand Officer of Classically trained in voice, piano, violin and musical theatre, as well as a respected mentor and industry speaker, Stephanie graduated with a Bachelor of Musical Arts from the Don Wright Faculty of Music at the University of Western Ontario. Possessing a great love for imparting knowledge and empowering others, her podcast Sound Stories serves an audience that wants to achieve excellence in storytelling. Stephanie is found on the PROFIT Magazine W100 list three times (2013, 2015 and 2016), a ranking of Canada's top female entrepreneurs, and is the author of Voice Acting for Dummies®.


  1. Yes, YES! Though, as with everything, it depends on your voice and how close you generally work. Any plosive is a post-prod chore, and even the very low pitched, entirely inaudible puffs may create a click if an edit is subsequently placed in the middle. That might happen in a studio far, far away!
    The filter also protects the mike from physical rubbish that escapes the mouth, without impeding the wanted variety. I’m still happy with my home made filter… courtesy of a circular hole in one of my wife’s tights. Howard (Devon, UK)

  2. Hi Stephanie,
    Good subject for discussion, thank you. I use a pop filter in my studio and it does make a world of difference reducing plosives (P’s & B’s) and helping make the editing process more efficient. I also work to move slightly off-axis specifically with words beginning with P or B and quickly return to my mic’s sweet spot.
    The trouble I find with speaking across the mic or completely from an angle is it changes the sound of my read slightly, sometimes more than slightly. Every mic has a certain spot that complements your voice, generally from directly in front and a certain distance back from the mic. Because that richness comes from being on-axis, the pop filter is important.
    Good stuff this Vox Daily…thanks for putting it out there.

  3. Pop filters are handy. But if you don’t have time or money, you can put a heavy sock over your mic, and get the same effect. And if you have some echo in your recording area and can’t afford a recording booth, try this: Get a largish box and glue egg cartons through-out. The sound will be deadened nicely.

  4. I see no reason not to use a pop filter. Any sound lost through the pop filter would usually be de-essed or EQ’d out anyway (quite high frequency sounds). I’m not convinced by the speaking across the diaphragm idea, I would say that any cardioid or uni-directional mic would pick up more room to voice noise doing it that way.
    Just my humble opinion.

  5. Hi, All !!
    I use a Blue Snowball and have no problem with ‘pops’ (or plosives).
    The microphone has three (3) settings, two of which are cardioid (full and partial) with the third setting as ‘omnidirectional’.
    Setting 1 (partial cardioid) seems to eliminate ‘pops’, even ‘straight on’.
    RK Brown Jr

  6. I don’t like the way they choke the frequency range (the cover type) of the mic, but I accept them as necessary. I use the mounted, free-standing type to get the benefits of the full frequency range of the mic while still averting most of the pop.

  7. Seems like I have never been able to get away with not using a pop filter…I always enunciate more than I should because of my singing training and teaching…its just a habit…so I have to be aware of this more when voice acting.

  8. I agree with Mike, there are certain mics I use in certain rooms where I can use a pop filter and talk directly into the mic w/o worrying about plosives. As far as pop filters, I LOVE my metal one, hate the mesh one…

  9. If the mic is more than six inches away and the diaphragm is at eye level there should be no need for a pop filter. For close micing, they are essential, even when correct technique is applied. The metal ones are no good and create resonances.

  10. The pop filter has 2 purposes: 1) to diffuse plosives and 2) to protect you mic from spit which will rust your microphone.
    BTW, I prefer a mesh filter…for me the metal filter adds sibilance as air blows through it.

  11. Well, sure, you can work the mic so as not to need one… except if you get a little animated and want to move your head! To me, the very slight high-frequency loss (not in the same range as sibilance, btw) of a nylon mesh pop filter is worth it, in order to save the occasional irreplaceable take.
    Foam filters are usually a no-no; not only do they dull the sound, but the foam dries out over time, and tiny particles flake off and get into the mic, onto the diaphragm. Bad. The Sennheiser 416 is an exception because its metal mesh is finer than most, and protects the mic from such things.
    No one has perfect mic technique all the time. Use a pop filter.

  12. With my Manley I use the pop filter but on other mics I have been able to work without one but saying that it really depends what I have to record style wise.

  13. I’ve tried using a pop filter, but, I use byfocals to read and pop filter obscures my view of the scripts. I prefer to use a mike sock; seems to provide same benefits but doesn’t block my view of the copy.
    Has anyone else tried this? Results? Thx BN

  14. Good pop filters are sonically transparent and saves a take that would have been perfect except for the pop…plus if you love your microphones you save that sensitive cartridge from hurricane force (seriously) wind gust that exist in that short distance from your lips to that mike element…anyone owning a ribbon mike should definitely use one.

  15. I use one, and removed the old windshield from my mike. However, I did still detect a pop or two, though not as bad as they once were, and have added the windshield back. I was worried that the combination of the two might reduce quality, but – without doing some kind of spectral analysys, which I can’t do – it’s hard to notice any diminution. I don’t have a wife with or without tights, so had to buy one! Five and a half quid. It didn’t break the bank.

  16. Pop filters also prevent moisture from the mouth- either spittle or the breath- from entering the microphone and degrading the components, and eventually the sound of the mic.

  17. Sometimes a pop will get through, awkwardly in the middle of a word – for example apple. Rather than re-record, I wonder if other people do this: select just the pop in your editor, apply low pass filter, maybe from 200 downwards dependent on your voice pitch at that instant. Because the tonal dip is so brief, the chances are you won’t notice it.

  18. With a snowball mic inside a Sumo box lined with sound proofing, and off to the side, I don’t have popping issues so don’t need a screen. It’s a decidedly low-tech set up, but I’ve gotten bookings, and the quality seems great.

  19. Using a pop filter is a matter of proximity and the type of mike used. If some one speaks from 3 feet away from a condenser mike, certainly a pop filter is nothing more than an acoustically transparent piece of of unnecessary apparatus. If, however, you have a mike hugger, you will need a pop filter no matter what direction the voice comes from.
    A lower gain dynamic mike requires one to be closer to the mike. The mike will also perform it’s function better without a pop filter if the speaker’s voice and breath pass over the mike as apposed to a direct frontal attack.
    There is no one correct answer. The effectiveness of a pop filter is completely dependent on the mike-user’s personal style and the design of the mike.

  20. Hello All-
    I’m new to, though I’ve been in broadcasting half my life. So, hello everyone!
    I prefer the pop filter. I suggest trying it with and without on your own mic and see what you think. I’ve tried various techniques with and without. The double mesh filter I use solves the problem of pops and hisses.

  21. I think if you’re like me, & have problems with Ps, Fs, Ts, & Ds overloading the mic pop screens are a must.
    Not to sound weird, but I’ve got big lips & I can’t speak naturally
    without popping the mic.

  22. As a recording engineer and producer I can tell you that pop filters are invaluable. They can also, unfortunately, deaden a little of your high end. I recommend a metal, louvered pop filter. They cost a bit (about $50) but a. they do not cut out the hi end, b. they’re louvered so the air is actually forced downward, c. they’ll will last forever (nylon pop filters are easy to break) and d. are very easy to wash (nylon pop filters are notorious for being stinky.)
    PLEASE do not put a sock over your mic, as was suggested. It won’t work well. Also, don’t bother stapling egg cartons to your walls. You’re better off to put up drapes or temporarily hang a blanket. Ideally, get some Owens Corning 703 rigid fiberglass, put them in acoustically neutral sleeves and hang a few up at the mirror points from where you work. It’ll be night and day.

  23. I use a pop filter for a variety of reasons.
    First, regardless of how good my technique may be, a stray plosive is occasionally launched toward the microphone. This invariably happens on that one perfect take and, naturally, the better the take, the greater the magnitude of the plosive and the greater the precision with which it will strike the microphone. So I think it’s an important safety measure. It also allows me to speak on-axis, instead of across the mic, which I like better. It also helps me maintain a good, consistent distance from the mic.
    A pop filter also prevents moisture, Nacho Cheese Dorito dust and whatnot from leaving my lips and taking up residence in my expensive microphone, which I treat better than some members of my own family. So even if you don’t use it as a pop stopper, you might think about using it to save wear and tear on your microphone.
    I use a Music Accessories Split Screen Pop Filter and it’s amazing. I can blow through it into the palm of my hand a couple of inches away and not feel the slightest breeze. It’s great.

  24. I am glad that people are mentioning what type of filter works
    best for them. I have a huge RODE filter, and found that it did
    cut a significant amount of the high frequencies, and the bass
    almost seemed amplified then James Alburger suggested that
    I get rid of the filter and just speak across the mic. I have been
    doing that lately, and usually it is fine, but I think I will try a
    mesh filter and see if that gives me the best of both worlds.
    Thanks for the imput!

  25. Hi, It’s a given, I always use a filter because it protects the mic. It’s all per situation as to the fixes for plosives, and my fixes have no noticeable side effects. I use a pro metal curved mesh shield-works like a charm. Depending on how close or expressive, plosives can still be a problem so I either go off axis, smile, or here’s one I taught myself, during a passage of problem pops, simply place an index finger in front of the middle of the lips as if to say shhhhh – this cuts the plosive nicely. Experiment.

  26. Frankly, I wonder why there’s so much yea-or-nay discussion about it. Everyone seems focused on the “sound” when it has an almost indiscernible effect. The main thing is what your hot breath and misty spittle do to your mic. When your breath cools, it condenses. The invisible, misty spittle collects. Together they will ruin your mic eventually. The bigger question is: Why wouldn’t you use one? C’mon…come up with just one reason? Anyone? Nuf said.

  27. Old school radio talent learned mic techniques to manage pops, blasts, and sibilance through years with the mic open.
    That was then and this is now: the benefits of a pop or blast filter far out-distance the liabilities.

  28. The very first pop filter (as opposed to a foam windscreen) was made out of a wire coat hanger and a piece of old pantyhose. Then other people saw that and a new industry was born. Proper mic technique dictates aiming the mic toward your mouth and pointing your mouth about 45 degrees away from the mic. Whether it is above, below or to one side is irrelevant. I have found that small-diaphragm condenser mics are more apt to pop than LDCs or dynamics. The problem with getting too close to a mic is that cardioid mics have some bass boost (proximity effect) when used close up, but of course when you back off you get more room ambience. The latter can be tamed by the use of acoustic panels, like foam, or a Reflexion Filter. It’s cheaper to get some moving blankets and hang them around your work space. Or, better yet, get a mic with a decent polar pattern that is cardioid all across the audio spectrum. Dynamics like the ElectroVoice RE20, Shure SM7B, Heil PR-30 or the older AKG D-707E are great. For condensers, I’ve had good results with an Oktava MK-319 and AKG C-1000S. If you’re just buying a mic, look carefully at the specs.

  29. I’ve never had a need to use a pop filter, and I’ve never had any complaints from my stream viewers when I’ve asked them about it. Then again, my mic is up and left from me on a mic arm, so it doesn’t obscure my screens, but still picks up my voice clearly. I definitely think pop filters are situational.


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