"pops" using Shure SM58 for vocal recording

rossmcm

New member
I've recorded some 4-part mixed acapella stuff with 4 SM58's and a Korg D1200. I'm quite encouraged - with a bit of reverb added the resulting mix from Audacity sounds pretty good. Except that is, for the pops I get from the SM58's on plosive sounds. I appreciate the SM58 is not really a studio mic but I'm wondering whether I can avoid the pops with a screen, or alternatively, if anyone knows of an audacity plug-in for pops.

TIA
 
A pop filter will help at tracking, compression can help at mixdown.

For a capella mic technique is king. I find that much a capella done live has each performer using a separate handheld like the 58 or some other. Some compression and a filter can help, but they should learn to solve the problem at the source, their technique, if they perform live.

A momentary turning away from the mic at offending plosives helps a lot, as does the classic technique of not really pronouncing them, just kind of hinting at them, without the plosive.
 
a low cut filter will help you...that's where the problem is. start at 60/80 and sweep it up until the p's are gone...if it's a little thin, maybe try notching it out with a parametric instead.

i never tried a compressor with a sidechain or some multiband thing - but that seems like it could work.

in the future, while tracking try having the vocalist sing across the mic at an angle. this, along with along with the pop filter, can solve a lot of problems. I agree that the vocalist should know how to work the mic...but hey - working it for 'em is part of the fun and the job.

"I appreciate the SM58 is not really a studio mic"

don't tell that to my 58! :eek: or mick jagger! :eek: or jack endino! :eek: or bono! :eek:

contemplating hooky,
Mike
 
bigtoe said:
a low cut filter will help you...that's where the problem is. start at 60/80 and sweep it up until the p's are gone...if it's a little thin, maybe try notching it out with a parametric instead.

i never tried a compressor with a sidechain or some multiband thing - but that seems like it could work.

EQ will merely change the timbre of the pops, and compression won't help either. Other suggestions are good, in that it's really a matter of mic technique. Some people pop, others don't. Try having the mic at nostril level, angled down toward the mouth, as the stream of air from the mouth naturally is directed downward.
 
AGCurry said:
EQ will merely change the timbre of the pops, and compression won't help either. Other suggestions are good, in that it's really a matter of mic technique. Some people pop, others don't. Try having the mic at nostril level, angled down toward the mouth, as the stream of air from the mouth naturally is directed downward.

While it's true that a good pop filter and proper mic technique are the best way to go, low cut EQ and compression can salvage a good take with a pop or two. Certainly compression and EQ are used heavily in radio to avoid the same problem.
 
"EQ will merely change the timbre of the pops..."

exactly - change the timber enough and you won't hear em.
i've done it 100 times...unless the pop is insane...it's not a hard fix in the slightest.

"and compression won't help either"

it would seem to me would - kind of like a deesser way down low. i'm gonna try it with an RNC. seems like a cool trick.

"While it's true that a good pop filter and proper mic technique are the best way to go, low cut EQ and compression can salvage a good take with a pop or two."

words to live by.

if the OP has editing capabilities - i'd grab a "P" from somewhere else and replace it...i did this a couple months ago on our hd24...forgot how well it worked..that editing stuff is addicting!

see ya.
Mike
 
Its very simple: If you don't want pops from plosives, use a pop filter. Spending time trying to solve the problem of pops with EQ and compression is really taking it the loooooooooooong way around.
 
PhilGood said:
Its very simple: If you don't want pops from plosives, use a pop filter. Spending time trying to solve the problem of pops with EQ and compression is really taking it the loooooooooooong way around.

Looks like PhilGood and I are in agreement.

Folks: Part of learning to be a good recordist is recognizing DURING TRACKING that there's a problem and then taking steps to resolve it. If I hear a pop, I stop the recording and do something about it right then.
I'm amazed at the lengths people go to "fix it in the mix."

Yes, EQ and compression can hide sins - and I've done it - but at what cost? I guess it's okay if you want or can put up with compromised/highly processed sound.
 
AGCurry said:
Looks like PhilGood and I are in agreement.

Folks: Part of learning to be a good recordist is recognizing DURING TRACKING that there's a problem and then taking steps to resolve it. If I hear a pop, I stop the recording and do something about it right then.
I'm amazed at the lengths people go to "fix it in the mix."

Yes, EQ and compression can hide sins - and I've done it - but at what cost? I guess it's okay if you want or can put up with compromised/highly processed sound.

part of learning how to record is also taking what yer given and asked to do and working with it.

sure - the vocalist should know how to sing and work a mic. the drummer should know how to tune and hit. the band should know how to show up on time. when asked - you should be given perfect takes into your mics.

you can't always get what ya want.

if ya can't get rid of a plosive on a vocal track without compromising the track or blaming the singer - i suggest you to learn how. yes - good to redo the take when possible - but the engineering required to get rid of one effectively is not that advanced.

Mike
 
bigtoe said:
part of learning how to record is also taking what yer given and asked to do and working with it.

sure - the vocalist should know how to sing and work a mic. the drummer should know how to tune and hit. the band should know how to show up on time. when asked - you should be given perfect takes into your mics.

you can't always get what ya want.

if ya can't get rid of a plosive on a vocal track without compromising the track or blaming the singer - i suggest you to learn how. yes - good to redo the take when possible - but the engineering required to get rid of one effectively is not that advanced.

Mike


Part of learning to record is knowing to have the right tools on hand before beginning the project. A cheap pop filter cost about $40! Its not an expensive piece of gear! It also will be a huge lifesaver when the little $40 screen keeps you from tweeking knobs at the end of a session. Hell, get 2 of 'em!!

Why spend time trying to fix a problem when that problem didn't have to exist in the first place?
 
well i've had pops using a pop filter and an SM7! not an easy combo to pop but it happens! (a 58 is kind hard to pop too, come to think of it!)

a pop filter is like a condom - use it but you can still end up with the stork.

so do what ya want guys - i'm just saying if you end up with a pop on your track like the original poster or cuz you have a take the singer doesn't want to change (usually the case with my stuff,) chances are you can fix it without harm to the track - or you, as the engineer, should be able to. some cases are extreme - but usually - use the tools effectively as an engineer and you'll be golden...

on that same note - i usually do 3 takes of the lead vocal for singers - just have em rip thru it - then you have 3 takes for comping which can solve this problem as well.

Pax and pop peeps,
Mike
 
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