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#1
10th August 2007
Old 10th August 2007
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Pop Filter ?

#2
10th August 2007
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anything really. i'd go with the stedman. the middle atlantic looks like too much stuff to be putting between the mic and the voice.
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#3
10th August 2007
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Yeah im leaning towards the stedman. I have a chitty nylon one right now, but it aint covering the pops enough.
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10th August 2007
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a tip:

use 2 cheap/good enough (thin) pop filters one over the other and it sounds best.
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10th August 2007
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I think the stedman sounds great and you can wash it after somebody coughs, licks, or spits on the filter.
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10th August 2007
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Quote:
Originally Posted by orb View Post
Yeah im leaning towards the stedman. I have a chitty nylon one right now, but it aint covering the pops enough.



then you need to work on mic and delivery techniques. try placing the mic slightly above the vocalists' mouth. the nice big blast of air from plosives will miss the capsule.
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10th August 2007
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Quote:
Originally Posted by rickrock305 View Post
then you need to work on mic and delivery techniques. try placing the mic slightly above the vocalists' mouth. the nice big blast of air from plosives will miss the capsule.
Thanks for the tip. I will definitely try that.
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10th August 2007
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Quote:
Originally Posted by eddierodriguez View Post
a tip:

use 2 cheap/good enough (thin) pop filters one over the other and it sounds best.
I will try this as well, once I get the new one.
#9
10th August 2007
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Most importantly with pop filters is they need a few inches on both sides to work. You can't put them up on the mic and have the singer's mouth on them and have them work. You will also hear their shear turbulence if the singer is too close...the stedman is worse for this than the nylons, and the nylons cut out more highs than the stedman.
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10th August 2007
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Quote:
Originally Posted by peeder View Post
Most importantly with pop filters is they need a few inches on both sides to work. You can't put them up on the mic and have the singer's mouth on them and have them work. You will also hear their shear turbulence if the singer is too close...the stedman is worse for this than the nylons, and the nylons cut out more highs than the stedman.
The distance thing makes sense. I will have to toy with this for a while, thanks for the insight though.
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If the singer gets too close to the mic it's usually because they want more of themselves in their cans. Goose them to get them to back off.
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11th August 2007
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#13
11th August 2007
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why in the world would u pay close to 200 dollars for one of those?
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11th August 2007
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Quote:
Originally Posted by 1 M.I.C View Post
why in the world would u pay close to 200 dollars for one of those?
Because it works perfectly.
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I myself wouldn't ever want my popscreen connected directly to the mic. That will transduce the plosives acoustically. Awful idea.
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11th August 2007
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Quote:
Originally Posted by peeder View Post
I myself wouldn't ever want my popscreen connected directly to the mic. That will transduce the plosives acoustically. Awful idea.
Well, they sell a gooseneck version. I was using a Studio Projects C1 initially with a Popless Pop Screen and when I upgraded, I could hear an increase the the high end.
#17
11th August 2007
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I got that same dual layer pop filter design in my studio at my disposal. I was also skeptical about the whole design at first too, but I actually found it to work better than the one layer nylon pop filters I have come across during my time.

Instead of having the usual one thicker layer, it uses two very thin layers seperated at a certain distance to kill plosives, etc. Doing it like this helps you to retain more highs and keep things more uncolored versus the conventional nylon pop filter.

Its not more stuff being put in between you and the mic its actually less cause those two thin layers put together would still be thinner than the usual one layer used in other nylon filters.

What allows them to use thinner nylon is the fact that the two layers are split apart at a certain distance, effectively killing all the plosives, etc.
The first layer slows down the plosives, and by the time the remaining wind and plosives hits the second layer, everything is killed.

The gooseneck on that model is also very good, very strong and stays in what ever position you set it in, the clamping method is also very sturdy and wont slip off, or scratch up your boom stand.
#18
11th August 2007
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Well the Pauly one has a metal ring with holes. When the air goes through the first layer, it is ported out the holes. Also it is made of a different material than regular nylon. I am not sure what it is, but it works. If you were to Puff into a nylon filter, the material won't really move. In the case of the Pauly, you can actually see the filter move in the shape of the wind expelling.

-Heezzi
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11th August 2007
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Quote:
Originally Posted by Heezzi View Post
I use a Pauly Superscreen. It works great.

Pauly Superscreens
Lmao, who the hell would clip the pop filter to their mic. tutt
#20
11th August 2007
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Quote:
Originally Posted by Heezzi View Post
Well the Pauly one has a metal ring with holes. When the air goes through the first layer, it is ported out the holes. Also it is made of a different material than regular nylon. I am not sure what it is, but it works. If you were to Puff into a nylon filter, the material won't really move. In the case of the Pauly, you can actually see the filter move in the shape of the wind expelling.

-Heezzi
The design sounds interesting though, probably works in a similar way to the dual nylon one. Why does the filter move to the shape of the wind though? Is that actually something that people should desire more than something that stays firm?
#21
11th August 2007
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Quote:
Originally Posted by PettyCash View Post
The design sounds interesting though, probably works in a similar way to the dual nylon one. Why does the filter move to the shape of the wind though? Is that actually something that people should desire more than something that stays firm?
I figure that since it's reacting to it, it is slowing it down. With a normal one, it's just passing through like nothing is happening. The wind isn't needed. You don't hear or feel wind when somebody is talking to you. So why would you need it in a recording?
#22
11th August 2007
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Quote:
Originally Posted by Heezzi View Post
I use a Pauly Superscreen. It works great.

Pauly Superscreens




a $200 pop filter? they GOT you!

only on gearslutz
#23
11th August 2007
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Quote:
Originally Posted by peeder View Post
If the singer gets too close to the mic it's usually because they want more of themselves in their cans. Goose them to get them to back off.
haha, ive definitely have had to do this once or twice...or 10 times.
#24
11th August 2007
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Stedman = instant sound upgrade IMO.
#25
11th August 2007
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I use the stedman XL and I could not be any happier. It looks good, it sounds good...no complaints here!
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#26
11th August 2007
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Quote:
Originally Posted by Heezzi View Post
I figure that since it's reacting to it, it is slowing it down. With a normal one, it's just passing through like nothing is happening. The wind isn't needed. You don't hear or feel wind when somebody is talking to you. So why would you need it in a recording?
I still dont know what to think towards that. I never heard of a pop filter moving when wind applies some pressure to its surface, or at least not moving enough to actually see it physically swaying.

And how the heck is any pop filter being priced at 200 bucks? Not even the metal ones cost that much, and I feel they are overpriced as it is already.
You'd think Neumann created the Pauly Superscreens for the price its being sold at.

I'd rather spend that money on a brand new executive leather office chair and filter out any pain I might feel in my ass from sitting on something cheaper.
#27
11th August 2007
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Quote:
Originally Posted by rickrock305 View Post
a $200 pop filter? they GOT you!

only on gearslutz
Mine was $150. It works so I don't compain. I never have to worry about explosives in my recordings.
#28
11th August 2007
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Pauly is the best popfilter you can buy for money. If you have an expensive mic this thing is a must have. You can hear the Stedman esp. when you have loud pops...

You won´t hear the Pauly working and that´s perfect! I have the PR120 T-30 and couldn´t be happier. It costs 300$ in the U.S., but you pay for handmade quality, which is simply the best.
#29
11th August 2007
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Ted Perlman praising the Pauly Superscreen:
IT'S PAULY FOR PERLMAN

Oddly enough, the only thing I could find out about the material is that it is highly-select and special. I wonder if it is single-layer.

Quote:
Originally Posted by peeder View Post
I myself wouldn't ever want my popscreen connected directly to the mic. That will transduce the plosives acoustically. Awful idea.
That is a good point. I guess it does not apply to the superscreen....
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#30
11th August 2007
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Has anyone tried a combination of a metal mesh with a cheap nylon behind it?

Just curious. I've only used nylon filters.
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