Best Shock Mounts and Pop Filters 2026: Vibration Isolation and Plosive Reduction
Last updated: 2026-08-19 · By NicheHive Editorial
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Our Top Picks
Rode SM6 Shock Mount with Pop Filter
Rode
- ✓Universal shock mount fits 48-60mm microphone diameter
- ✓Pop filter included and attached to shock mount
- ✓Elastic suspension system
- ✓Integrated pop filter swivels
Pros
- Elastic suspension reduces desk vibration transfer by approximately 90% vs direct mount
- Integrated pop filter eliminates a separate accessory
- Universal sizing fits NT1, Blue Yeti X, AT2020, and most large-diameter condensers
Cons
- At $79, expensive for a shock mount
- Does not fit microphones under 48mm diameter
Best shock mount with pop filter. Elastic suspension, universal sizing, and integrated pop filter in one accessory. Best for studio setups with large-diaphragm condensers.
Heil Sound PRSM-B Shock Mount
Heil Sound
- ✓Designed for dynamic broadcast microphones
- ✓Fits SM7B, RE20, and similar broadcast dynamics
- ✓Black finish
Pros
- Specifically designed for the dynamic microphone diameter range
- Used in professional broadcast facilities
- Durable metal construction
Cons
- Does not fit large-diaphragm condensers
- No pop filter included
Best shock mount for broadcast dynamic microphones. For SM7B, RE20, or similar broadcast dynamics: the Heil PRSM-B provides vibration isolation specifically calibrated for these heavy microphones.
Nady MPF-6 Pop Filter
Nady
- ✓6-inch nylon mesh screen
- ✓Gooseneck clamp
- ✓Attaches to microphone stand
Pros
- At $10, most accessible plosive reduction
- 6-inch diameter covers typical speaking distance
- Nylon mesh does not add high-frequency coloration
Cons
- Nylon mesh requires cleaning — accumulates moisture from breath over time
- Gooseneck clamp can slip if over-tightened or under-tightened
Best budget pop filter. Standard nylon mesh pop filter at $10 — appropriate for home recording where cost matters more than aesthetics.
Shock mounts and pop filters address two different audio problems: desk vibration transfer and plosive sounds.
What Shock Mounts Do
When you type on your keyboard, the vibration travels through the desk surface and into the microphone stand, then into the microphone body. Condenser microphones are sensitive enough to pick up this vibration as a low-frequency rumble or thump in the recording.
A shock mount suspends the microphone in an elastic cradle — rubber bands, silicone rings, or elastic cord. Vibration from the desk does not transfer efficiently through elastic materials, so the microphone body receives minimal vibration even when the desk is being typed on.
Do you need a shock mount? Test: knock gently on your desk while your DAW is recording. If you hear the knock in the recording, a shock mount will reduce or eliminate this. If you do not hear desk noise in your recordings: a shock mount will not change your recordings noticeably.
Users who type on the desk while the microphone is active: shock mount is valuable. Users who only use the microphone during voice recording when not typing: shock mount is less critical.
What Pop Filters Do
Plosive consonants (P, B, T, D) create a burst of air from the mouth that hits the microphone diaphragm and creates a low-frequency thump — called a "plosive" or "popping" in the recording.
A pop filter (mesh screen or metal plate with holes) is positioned between the speaker's mouth and the microphone. The screen diffuses the burst of air before it reaches the diaphragm, preventing the pressure spike.
Nylon mesh pop filters: the classic design. Diffuses air effectively. Slightly reduces very high frequencies (above 15kHz) — imperceptible in voice recording.
Metal pop filters: perforated metal plate. Does not accumulate moisture as quickly as nylon. Slightly different plosive reduction character — some engineers prefer metal for closer microphone positioning.
Built-in windscreens (foam covers on some microphones): provide some plosive reduction but are less effective than dedicated pop filters for close-mic recording.
Recommended Combinations
USB microphone (Blue Yeti, HyperX QuadCast): optional shock mount (check if the microphone has its own shock mount built-in) + inexpensive nylon pop filter ($10-$20).
Large-diaphragm condenser on boom arm (AT2020, Rode NT1): shock mount (Rode SM6 or equivalent) + pop filter (included with SM6 or separate).
Broadcast dynamic on boom arm (SM7B, RE20): shock mount (Heil PRSM-B or equivalent) + pop filter or windscreen (plosives are less severe with dynamic mics, but still present at close range).
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