Los Angeles, CA (May 31, 2006)–With a list of credits that including Burt Bacharach, Bob Dylan, Neil Sedaka, Carole King, Dr. Dre, and Robin Leach, Perlman understands the signal path to great vocal recordings. No matter what microphone or preamp he selects for the singer, each session at Perlman’s studio Buffalo Sound is guaranteed to have one thing in common: A Pauly Superscreen pop filter.
L.A.-based producer/engineer Ted Perlman finds magic in Pauly Superscreen pop filters for vocal and instrumental recordings.”When I’m capturing vocals, the thing that’s consistent for me every time is the Pauly Superscreen,” Perlman said. “When I first tried it, I couldn’t believe it. The Pauly significantly reduces the plosives, spit noise and other unwanted sounds. I have every type of pop filter made in my collection, but the Pauly rocks. It works amazingly well. It’s worth every dime and more.”
Made by Hilmar Pauly, a German Tonmeister, Pauly Superscreens are made from a highly-select material that virtually outperforms other currently available pop filters with increased high-end and unparalleled wind rejection. “My philosophy with any equipment is that if you can’t hear it, it’s brilliant,” said Perlman. “And the Pauly’s biggest attribute is definitely its transparency. It doesn’t interfere with the highs. When people come here to work with me, they expect the vocal to sound great, and they really know equipment. No one singing through a Pauly Superscreen ever says to me, ‘Can you take the pop filter off? Because it’s changing the way my voice sounds.’ That’s the biggest compliment you can give a screen.”
Once they notice the impact of the Pauly Superscreen, singers at Buffalo Sound often approach recording their tracks in a more focused fashion. “It lets the singer concentrate on their performance, instead of worrying about whether they’ll pop their ‘p’,” Perlman said. “It also comes with a clamp that mounts directly to the mic, which allows the singer to really lean into it in a way that the standard gooseneck-mounted pop filter doesn’t permit. This setup also provides them with improved sightlines to their lyric sheets. In addition to vocals, I’ll use them for trumpet, flugelhorn, flute, or harmonica, or any instrument that’s blasting a lot of air.”
After tracking has been completed, Perlman notes that the addition of an extremely high quality pop filter like the Pauly Superscreen will often help to streamline mixing. “The vocals often sound all right before you start mixing,” he explains, “but then after you’ve brought it to the front via a compressor, limiter, EQ, or delay, any flaws or idiosyncrasies in the vocal will become magnified. With a Pauly Superscreen, you’ll go through less work in the mix stage because it reduces sibilance so well.”
Available from Las Vegas Pro Audio at www.lasvegasproaudio.com, the Pauly Superscreen is more expensive than the average pop filter, but to the Grammy Award-winning ears of Ted Perlman, it’s an investment worth making. “When it comes to vocals, you simply need to have a pop filter,” he stated. “In the studio, the Pauly Superscreen is incredible. I won’t record anyone without it.”