MIcrophone Design II Reading

Windscreens

Windscreens are used to protect microphones that would otherwise be buffeted by wind or vocal plosives from consonants such as "P", "B", etc. Most microphones have an integral windscreen built around the microphone diaphragm. A screen of plastic, wire mesh or a metal cage is held at a distance from the microphone diaphragm, to shield it. This cage provides a first line of defense against the mechanical impact of objects or wind. Some microphones, such as the Shure SM58, may have an additional layer of foam inside the cage to further enhance the protective properties of the shield. Beyond integral microphone windscreens, there are three broad classes of additional wind protection.

One disadvantage of all windscreen types is that the microphone's high frequency response is attenuated by a small amount, depending on the density of the protective layer.

Microphone Covers

Microphone covers are often made of soft open-cell polyester or polyurethane foam because of the inexpensive, disposable nature of the foam. Optional windscreens are often available from the manufacturer and third parties. One disadvantage of polyurethane foam microphone covers is that they can deteriorate over time. Windscreens also tend to collect dirt and moisture in their open cells and must be cleaned to prevent high frequency loss, bad odor and unhealthy conditions for the person using the microphone. On the other hand, a major advantage of concert vocalist windscreens is that one can quickly change to a clean windscreen between users, reducing the chance of transferring germs. Windscreens of various colors can be used to distinguish one microphone from another on a busy, active stage.

Pop Filters

Pop filters or pop screens are used in controlled studio environments to minimize plosives when recording. A typical pop filter is composed of one or more layers of acoustically transparent gauze-like material, such as woven nylon stretched over a circular frame and a clamp and a flexible mounting bracket to attach to the microphone stand. The pop shield is placed between the vocalist and the microphone. The need for a pop filter increases the closer a vocalist brings his or her lips to the microphone. Singers can be trained either to soften their plosives or direct the air blast away from the microphone, in which cases they don't need a pop filter.

Pop filters also keep spittle off the microphone. Most condenser microphones can be damaged by spittle.