I'm going to push back on the "distance to minimize plosives" idea. Actual sound radiating from the mouth drops off according to an inverse square relationship. When you double the distance, you quarter the volume (which is to say, you reduce it by 6 dB). If lips on the grill is 1/2 inch from the diaphragm, 8 inches is 24 dB down. The blast of air that causes the booming sound on a mic is an entirely different kind of phenomenon. It's a jet. The speed of the air doesn't change all that much for several inches (about 8) until turbulence starts to eat away at it, then it falls off at an increasing rate. Given those two facts (plus the protection offered by a "ball" mic's grill and foam windscreen), the optimum distance to minimize plosives is as close as possible, with the added benefit that any eq applied to reduce proximity effect also reduces much of the plosive effect.
I recently did a video using my Zoom H5 to capture the audio. I placed it at the front/center of stage so the onboard mic would capture drums and amps. It was about six feet out from the kick drum and the air puffing out of the drum's hole was hitting the mics and making that "blowing into the mic" sound, which just goes to show how different a jet of air is from radiating sound.
A lot of plosive problems are more a matter of singer technique than anything technical. Some people just blow a lot of air with their consonants. I find this to be especially true of singers used to performing without amplification, like in musicals.
[Edit] All that said, you still need some kind of physical blast protection, like a pop screen, for a studio condenser or (especially) a ribbon mic.
