Sometimes a very simple basic product that does a mundane but necessary function is a much more satisfying purchase than the latest compressor or plug-in that everybody’s raving about. The JZ PF is one such product — the best, most well-designed, and well-built pop filter I’ve ever used. I saw this at NAMM last January and the JZ rep demonstrated that you could not feel a blown breath through the two spaced metal screens with very small perforations. The shape of the two screens resembles a pond immediately after you’re thrown a small rock into the water. JZ sent one of these over for review, and I recently used it for cutting lead and backing vocals for an album with Kyle Field of Little Wings. Not once did I hear a popped plosive, and the vocals, on a Wunder Audio CM7 ( Tape Op #59), sounded great. Nothing besides the plosives was being subtracted from the sound. The only time I heard any plosives during the session was on a different mic at the piano station that used a different pop filter. During the session, I had to readjust the filter fairly often as we moved the vocal mic around to accommodate Kyle (either sitting or standing) and guest vocalist Julie Baenziger from Sea of Bees. I really came to appreciate the design and build of the PF. The diameter of the element is smaller than most pop filters — about 3.75’’ rather than the 4.5–7’’ of many pop filters — which made it easier to place in relation to the mic. The flexible metal gooseneck held its positioning perfectly, never sagging or bouncing back to a different position. The mic-stand mount has a nice oversized thumbscrew and attaches very securely to the mic stand. If you’re a recordist of any level, you would benefit from using one of these. Your recordings will sound better. ($118 direct; –JB

Tape Op is a bi-monthly magazine devoted to the art of record making.

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