Properly recording audio requires plenty of forethought and picking the right microphone is just the tip of the iceberg. You have to consider common recording problems that you can’t edit out might arise. Whether you’re frustrated by those loud pop sounds that ruin your recording or notice dramatic bass increases at random intervals throughout your recording, we’re here to help solve the most egregious recording issues.

Editor’s note: this article was updated on March 12, 2021, to address an FAQ about digital audio workstations (DAWs) and to include information about how to record.

Getting rid of pop and hiss noises

Beyerdynamic Fox USB microphone: A front-facing image of the mic with the filter installed, which mitigates common recording problems.

The Beyerdynamic Fox USB microphone includes a pop filter, which minimizes the effect of plosives and fricatives.

Many of us run into problematic plosives and fricatives during recording. These are heard as popping and hissing noises, respectively.

Plosives have much to do with pressure and how air expulsion from your mouth impacts the microphone. Put your palm parallel to your mouth and say “papaya.” You should feel two bursts of air hit your palm as you enunciate the letter P. If you were to replace your hand with a microphone and record the sound, two spikes would show up in an audio editor.

Pop filters are an economical way to reduce the effect of plosives and fricatives.

Fricatives act a little differently. These sibilant sounds form when the tip of the tongue pulls toward the roof of the mouth and air is forced out. A good example of this is the word “check.” Generally speaking, s, z, sh, and zh phonemes all produce sibilant noises.

Demo of plosives:

Demo of fricatives:

While the presence of plosives and fricatives is aggravating, one preemptive measure can be made to avoid them altogether: get a pop filter. For $10 or less, this is a cost-effective solution that affords immediate results. These can be mounted onto a desk or mic stand in a matter of seconds and work exactly as the name implies. The filter’s screen takes the brunt of the air escaping your mouth, so the pop is practically inaudible upon reaching the microphone.

Proximity effect and microphone placement

A man using a smartphone to make a phone call using his voice. One of the common recording problems is the proximity effect..

When a directional microphone is too close to the source, bass frequencies are amplified.

The proximity effect is something many of us experience when using microphones. As you speak closer to the mic, low-frequency sounds increase in volume. While this isn’t as detrimental to conference calls, it can negatively impact professional recordings—forcing you to spend more time processing your audio track. Some mics, like the venerable Shure SM58, minimize bass response to counteract the proximity effect.

Read: Home Studio recording: Everything you need to get started

An easy way to neutralize this effect is by speaking at a consistent distance from the microphone; 6” is a good rule of thumb. When recording, try not to sway too far toward or away from the mic. If all else fails, you can apply and tweak a high-pass filter in Audacity.

What’s more, make sure you’re speaking into the correct side of the microphone. This sounds silly but some mics, like the Blue Ember, require you to place the capsule even and parallel to your mouth, rather than speaking directly into the top of the grill. Proper microphone placement can greatly improve clarity and minimize distortion.

Prevent wind and cable noise

The Shure MV88+ Video Kit. The rear of the microphone.

Even external phone microphones can create cable noise.

If you’re recording outside, your greatest enemy is the wind. Waiting out the weather is an option, but an unpredictable and inefficient one. Instead, you’re better off getting a dead cat. Don’t worry, it’s not as horrific as it sounds. The unfortunately-named dead cats are fuzzy windscreens with an acoustic foam interior. Sure, they won’t block out hurricane-level winds, but you should avoid recording in extreme conditions anyway.

Cable noise is another salient issue that you’re bound to run into. Depending on the type of recording you’re doing, there are a few solutions. If you’re conducting an interview with a lavalier microphone, you can run the wire under the subject’s shirt and use a little tape to keep it in place.

Your recording environment should be as controlled and quiet as possible.

For those who record from a studio, you may find your feet kick against the wires. To prevent damage to your equipment and cable-knocking noises in your recording, get gaffers tape and run the excess cables along the floor. That way, you won’t be able to kick the cables around and your studio remains hazard-free.

Additionally, whether you record inside or outside, a good shock mount is a must. These reduce micro-vibrations. If you’re walking and recording this is imperative for a shotgun mic. Likewise, if you’re in the studio and speak with your hands. I’m guilty of doing so and have bumped my desk which then jostled the boom mic, forcing me to re-record. Had I used a shock mount, I likely could have gotten away without a second recording.

Power requirements

The Cloudlifter plugged into a USB interface can lessen common recording problems.

The CL-1 Cloudlifer takes full advantage of phantom power and gives your dynamic mic more gain with minimal noise.

Certain microphones require phantom power, which is just external juice to properly power the microphone. Most specification sheets denote whether or not external power is required. In the case of condenser microphones, phantom power works two-fold: it drives the mic and polarizes the internal transducer. It’s an easy fix, as most audio interfaces include a phantom power toggle. You can even grab a separate preamp, which is a compact solution.

Room acoustics

The Beyerdynamic DT 1990 Pro headphones in front of foam paneling on walls.

Foam panels can greatly reduce in-room echoes.

Depending on where you’re recording, your microphone may register outside noises and room echoes. While not everyone can afford to professionally soundproof their rooms, there are some affordable fixes available.

Invest in foam panels and bass traps. While these aren’t the most aesthetically pleasing decor, they’re functional and can effectively reduce echoes and reverb. They won’t help with external noise, but if you can move to an internal room in your building or apartment while recording that will further improve recording quality.

You might like: How to podcast at home

Even though proper recording technique is often learned by means of trial and error, this guide should help you avoid the most common recording problems. There’s plenty to be aware of when recording people, too. If you’re not sure where to start, be sure to check out our best podcasting and YouTube microphone picks.

Frequently Asked Questions

Should I buy certain headphones to monitor my mix?

It's wise to invest in dedicated studio headphones when you're working on an audio project, whether you're mixing a podcast or a few music tracks for a friend. When you're shopping around for headphones, you should pay attention to things like an accurate frequency response, proper isolation (if you don't have access to a studio environment), and a comfortable, durable build.

What DAW do you guys recommend?

We have an in-depth article to help you find the best digital audio workstation (DAW) for your needs here! If you're a newbie with a Windows machine, we recommend Magix Music Maker for its clean UI and free tier. If you want to step it up a notch, consider Logic Pro X (macOS).