![]() ![]() While keeping your face looking forward (not up at the mic), say the following two phrases a few times: If such a position is impossible in your booth, skip to Step 11. Peter Piper picked a peck of pickled peppers. Seven silver swans swam silently seaward. Notice that the bursts of air from your P’s and your S’s, fly forward missing the microphone completely. This is why you really don’t need the pop filters/etc for audiobook narration in most cases. Windscreens and pop filters are intended for singers who need to be right up on top of the mic. They are there to make the best of a bad situation. At best, they mitigate (not eliminate) the effects of those bursts of air. If you learn to work without them, you will be more conscious of your mic technique and it will improve over time. This step is really only useful for people who could not find a good spot for Step 9. Instead of changing the latitude, try changing the longitude of the mic (to the left or the right). You should not need to shift it more than 20-30 degrees from center. Remember that the capsule in the mic needs to be pointed at your teeth/chin area. The distance from that capsule to your teeth/chin should be the same as it was in Step 8. Once you have found a good position, go back to Step 10. Of course it is possible to use a combination of Steps 9 and 11 to find a perfect position. It felt like overkill to turn that into a 12th Step though. I am favoring positions where the mic is mounted above you, looking down because I am using you as a sound absorber. ![]()
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