Pop filters are one of those accessories you don’t think much about—until they’re ruining your setup. Whether it’s an awkward arm that never stays in place, a filter so bulky it blocks your entire face on camera, or a windscreen that kills the sparkle in your voice trying to tame plosives, most of us settle for “good enough.”
And yet, as someone who, in truthful honesty, hates the sound of his own voice – I’ve tested my fair share of windscreens and pop filters over the years—everything from foam sleeves to mic isolation boxes and more. None of them nailed the balance of clarity, control, and convenience that I needed. The ISOVOX ISOPOP BroadCast, however, changed that within minutes of mounting it to my mic. From its incredibly lightweight build to its smart design and surprisingly transparent sound, this is one of the few studio accessories I’ve tested that feels like it’s truly solving a problem instead of just looking the part.
The Common Problem with Pop Filters
If you’re like me and have a naturally sibilant voice, then you know the struggle of dialing in a clean vocal take without it sounding like a snake hissing through a megaphone. This is a common issue I’ve experienced while recording episodes for The Altwire Podcast. And while most windscreens do a fine job of reducing plosives, they often create new problems in the process, like dulling the top end too much, or if it’s a pop filter, fighting with a flimsy attachment.
Before using the ISOPOP, I was juggling a combo of windscreens and pop filters with my Shure MV7X, a mic that’s fantastic on its own but whose included windscreen leaves a little bit to be desired in terms of performance. As many have commented, the default windscreen on the MV7X really isn’t great, and while swapping in a SM7B foam windscreen helped a little, it constantly slipped off as it wasn’t quite built for that microphone to begin with. That setup also robbed some of the clarity I needed for podcasting, as my ideal sound is punchy, clear, but sibilance-free – a wishlist I’d soon find, isn’t as easy to accomplish as it sounds.
Worse still, the moment I tried external pop filters, I felt like I was podcasting from behind a riot shield. Blocking the view of your face isn’t exactly ideal for video-based content, and half the time the bendable arms on these things completely suck.
What Makes the ISOPOP™ BroadCast Different?
So here’s where ISOVOX got it right:
First off, the weight. This thing is shockingly light. It attaches directly to the mic using a simple yet cleverly designed system of stretchable bands, and its lightweight form means it won’t cause your microphone to droop during recording. If you’re working with notoriously finicky mic stands, this is a big win—it won’t mess with your positioning or cause sag over time.
Next is the sound transparency. The ISOPOP uses what ISOVOX refers to as “Pro Filters”, which diffuses air bursts (the plosives from “P” and “B” sounds) while preserving all the top-end detail that windscreens tend to kill. And while I’m usually one to scoff at marketing, I set out to see just how these would perform.
The result? My vocals sounded clean, crisp, and professional—without needing to stack plugins in post just to tame the S’s or remove pops. As my bigger frustrations were sibilance, I mostly used the de-ess filter during testing, although the included “neutral” pop filter did just fine for a more natural sound. But it wasn’t just me who had these thoughts. Guests on two separate episodes of my podcast commented on how great my audio sounded.
And finally, the size. The filter’s compact frame sits in front of the mic without dominating the screen. This means my face—and my expressions—stay visible on camera. No foam cloud or circular mesh disc is hovering between you and your viewers.
Built Like a Pro Tool
Design-wise, despite being incredibly thin and light, it doesn’t feel like this would be easy to break. The all-metal frame feels solid without being heavy, and the elastic bands made attaching it to the MV7X a breeze once I figured out the trick.
What do I mean by trick? Well, if you look at most of their product example images, you’ll see that this is usually meant to slide down slightly around the body of the microphone as well. However, due to some design differences between the MV7X and a Shure SM7B, I was worried the MV7X was “too fat” for the filter at first, but ISOVOX’s customer support proved otherwise.
Peter from ISOVOX responded within hours—not only with photos of the BroadCast mounted on an MV7 in their studio—but with a suggestion that worked perfectly. The level of care and speed were impressive, and once installed, the filter didn’t budge, and it looked as sleek as it sounded.
The Real-World Difference in Workflow
When I was recording podcast episodes or interviews before, I’d have to spend extra time manually de-essing segments because my sibilant voice would spike here and there. Now? That harshness is largely tamed at the source. I still use a de-esser in post, but more out of my perfectionist mindset. Thanks to these, my edits are more gentle—more of a polish than a rescue.
More importantly, my vocal tracks remain full and open, with all the nuance intact. No woolly midrange. No muffled highs. Just the natural sound of my voice with fewer issues to fix.
Who Is This For?
At $99, this pop filter sits right at the higher end of budget pricing. It’s not out of reach of newbie podcasters, but should also be considered for what it is: an upgrade from a generic 20 dollar pop filter on Amazon. If you’re only occasionally hopping on Zoom calls or recording one-off voice memos, you’ll probably be able to get by with a simple windscreen. But if you care about sounding your best, especially on video, this thing becomes a no-brainer.
The ISOPOP Broadcast is built for professional or semi-professional vocalists, podcasters, voiceover artists, streamers, and broadcasters who want better sound, without having half of their face obscured to do so. It’s the kind of tool that you appreciate more the longer you use it—especially when bouncing between different recording contexts or needing to sound consistent across gear setups.
Whether you’re recording in a treated room or a spare bedroom studio, the BroadCast helps dial in a cleaner sound from the jump. It’s not magic, and it won’t fix a bad mic or poor technique, but it elevates a good setup by removing some common pain points.
With this, you’re investing in:
- A cleaner sound with less EQ and de-essing needed later.
- A cleaner visual with less obstruction on video.
- A cleaner workflow with less editing and repositioning.
Factor in the top-tier customer support, the thoughtful design, and the ease of integration with broadcast mics, and it justifies its price and value for anyone taking voice content seriously.
Final Thoughts
I have to say this little trooper surprised me. It’s so small and thin coming out of the package that it’s easy to wonder just how well this will do. The ISOVOX ISOPOP BroadCast is a deliberately small and subtle solution and doesn’t scream for attention. What it does is work—quietly, efficiently, and elegantly. This one keeps it simple. And for me, it solved a long-standing problem in my setup: how to reduce plosives and sibilance without killing clarity or covering my face.
Between its featherweight build, transparent sound quality, and compact visual profile, it’s one of the smartest additions I’ve made to my vocal setup.
Final Verdict:
If you’re tired of dealing with filters that block your view, muddy your sound, or just don’t stay in place, the ISOPOP BroadCast delivers. We highly recommend this for anyone serious about good audio.
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