In reality, that was me standing at a very busy intersection. Most of the thumping is unintentional. That was a breeze I hadn’t counted on in my “extensive” planning. That’s why you never, ever blow into a microphone. It drives them nuts, and if they go too nuts, they can stop working. Forever.
There’s a reason the dialog is overly simple. I recreated the dialog with the exact same portable recorder in my dead-quiet, soundproofed third bedroom. Then I mounted both sound tracks in Audacity, matched the dialog and faded between them. Poof. No more Harley.
I did three of them. One at a construction site and one in a busy coffee shop.
I don’t know which microphone that particular one is, but mine is a AKG C555L.
In my case, the microphone is directional and I turn it so it aims to my lips. If I want to wear the headset on the other side, I have to turn the microphone. It comes with a foam ball like his. More importantly, it’s a full-on entertainment microphone. It’s designed to be plugged into a sound mixer or a theatrical radio link, so there’s nothing simple or cheap about it.
This is the engineering test Denise and I shot. I’m wearing the AKG. Many mistakes. It’s heavily cut to take out all the Ummms and Ahhhs and all the “Can You Hear Me OK,” and false starts.
Denise is three times zones away over a Skype link. So yes, you can do well with Skype if you’re paying attention.
Is that sound check in the conditions you will be using for your performances? There have been people who perform between refrigerator cycles. If you unplug the fridge, set an alarm/timer somewhere. There are performers who do that, too.