How to Fix Plosives and Mouth Sounds in Your Recordings

The Issue Nobody Wants to Admit

You have recorded a perfect take. The performance is on point, the timing is tight, the emotion is exactly what you needed. And then you play it back and… every “P” and “B” sounds like a small explosion.

Plosives (the pop sound from hard consonants like P and B) are one of the most frustrating recording problems. And the cruel irony is that once they have been recorded, they are notoriously difficult to remove without degrading the vocal quality.

Prevention First (The Right Way)

Before we talk about fixing plosives in post, know this: prevention is always better than cure. The best time to fix a plosive is before the microphone even picks it up.

• Use a pop filter — The classic foam screen between your mouth and the mic reduces the direct air blast that causes plosives. Place it 2-3 inches from the microphone.
• Mind your microphone distance — The closer you are to a cardioid microphone, the more prone it is to capturing plosives. A distance of 6-12 inches is ideal for most vocal recordings.
• Angle the microphone slightly — Do not speak directly into the mic diaphragm. Angle it about 45 degrees off-axis so the air blast misses the most sensitive part of the capsule.
• Watch your technique — Consciously pull back slightly on hard consonants. It might feel strange during the performance, but it is easier than fixing it later.

Fixing Plosives in the Mix

Sometimes prevention is not enough — or you are working with archival recordings where you cannot re-track. Here is how to handle it:

1. Surgical EQ Cuts

Plosives often create an increase in low-mid frequencies (between 100-300Hz) for a brief moment. High-resolution analyzers can show you exactly where. If you see a spike at those frequencies that corresponds to a plosive, a narrow cut at that frequency during the problem syllable can help. Be careful: overdoing this can make the vocal sound thin or hollow.

2. De-Esser as Emergency Tool

A de-esser is designed to catch harsh sibilance — but with a tight enough frequency range, it can also catch plosives. Set it to around 100-200Hz (the frequency range where plosives live) with a fast attack and moderate reduction. Use it only during the problem syllables, not continuously.

3. Volume Automation

If the plosive is isolated to specific words, the most transparent fix is manual volume automation: ride the volume down slightly on the problem syllable, then bring it back up immediately. The best results come from automation drawn by hand rather than detected automatically — your ears know when it sounds right.

What to Avoid

Do not reach for a low-pass filter. Cutting everything above 200Hz to remove plosives will make your vocal sound like it is coming through a telephone — and you will have thrown away all the air and presence that makes it sound real.

Similarly, heavy compression after the plosive has been recorded will make it worse. The compressor will react to the peak and pull down the whole phrase, making the plosive stand out even more.

Bottom Line

Fix plosives before the recording if you can. If you cannot, use surgical EQ and volume automation for the cleanest results. And next time — pop filter, proper mic distance, and a slight angle. Your mixes will thank you.