Material: Flocked Foam or Long Fur

Two core builds cover most projects.

Flocked foam gives a matte textile surface over a dense foam core. It suits on-camera work, studio sets, conference rooms and indoor livestreams. Color holds well and the surface does not flare under lights.

Long fur builds use thick faux fur pile over a shaped foam core. They suit outdoor reporting, field shoots and any location with moving air. The pile cuts low-frequency wind noise and preserves mid and high detail when the build is right.

Some buyers take both under one brand, with matching packaging. That is a common program for distributors who sell to both studio and field customers.

Shape and Dimensions

The silhouette is usually defined by the microphone, but there is room to design.

Common shapes are the ball, the oval, the capsule and a tapered cone. Custom profiles are possible when the mic has an unusual grille or when the brand wants a signature look.

Dimensions come from the capsule diameter and the length of the covered section. We ask for the exact model because two similar handhelds can differ enough at the grille to change the pattern.

For shotgun mics used in a blimp, we produce slip-on covers that fit over the basket rather than around the capsule.

Color and Splicing

Solid colors are the baseline. Splicing is where brand identity usually appears.

Splicing joins two or more colors before flocking, so the surface stays continuous across the seam. The result reads as one piece rather than two covers glued together.

Typical patterns are two-tone blocks, vertical stripes and color bands that echo a set design. Complex artwork usually costs more setup and needs a larger run to be economic.

A practical note for outdoor use: light colors show dust and handling marks. For field kits, mid-tone or dark base colors age better.

Logo Printing

Logo work is the most requested customization, and the most sensitive to detail.

We print the mark into the windscreen surface rather than applying a sticker. Printed marks do not peel and do not collect dust along an edge.

Three variables decide whether the logo reads on camera: size, contrast and placement. Small marks disappear into the fiber texture. Low contrast turns the logo into a smudge at distance. Placement on the top curve distorts more than placement on the side.

Send vector artwork and state the camera distance. We will confirm a size and position that works at that distance.

Fitting Details

Small hardware decisions affect daily use more than buyers expect.

Options include an elasticated base, an internal retention ring, a tie or strap for large fur covers, and a reinforced opening that survives constant removal.

For rental stock and field kits, these details decide whether the cover lasts a season. For retail packaging, they affect how the product feels in the hand.

Packaging and Branding

Packaging is often the difference between a component and a retail product.

We produce bulk polybag packing for assembly lines, simple printed bags for distribution, and retail-ready boxes for brand programs. Labeling, barcodes and language variants are handled at packing.

If your brand sells through retail or e-commerce, plan packaging early. It changes carton dimensions and therefore shipping cost.

Sampling and Approval

Custom work should always pass a physical sample.

Sampling is quick when design, flocking, printing and assembly sit in one workshop. You approve real color and a real logo, not a rendering.

Test the sample in the conditions that matter. Take a fur cover outside. Put a flocked cover under the real key light and check it on a monitor. Check the logo at working distance.

Then confirm that the production batch matches the sample. Ask how color is controlled between runs. This is the single most common failure in private-label programs.

Order Volume and Program Design

Volume decisions shape what is economic.

Complex splicing and large logos need longer setup, so they suit larger runs. Simple solid-color covers with a small logo work well at smaller volumes.

For distributors, a sensible program is a small number of shapes in a consistent color range, with one or two signature colors per season. For broadcast clients, the program is usually depth in one build rather than breadth.

Tell us the target quantity and the number of variants. We will tell you which customizations are economic at that scale.

What We Bring to the Project

We are a manufacturer of microphone windscreens working from our own supply chain. Original design, rapid sampling, batch production and after-sales follow-up run as one process.

We have supplied media organizations for years, including CGTN, Beijing Radio, Xinhua, People's Daily Online, Hong Kong Cable TV, CNA in Singapore, a US Chinese-language network and Australia's Channel 9, plus more than a hundred other broadcast clients. We also produce private-label lines for distributors and microphone brands.

Send your spec, your artwork and your target volume. We will come back with a build and a quote.

Timeline and What Slows It Down

Custom windscreen work takes time in three places, and only one of them is production.

Approval is the first. Color and logo decisions need a physical sample, and a sample needs your sign-off before the run starts. Buyers who review artwork slowly delay themselves.

Material is the second. A stock color moves immediately. A matched brand color may need the right dyed goods, which can queue.

Production is the third, and usually the shortest. Print setup and flocking parameters are already defined once the sample is approved.

Plan approval first. It is the step that compresses or stretches everything after it.

The Takeaway

Custom means choices, and choices need a spec. Decide material first, then shape and size, then color and logo, then packaging.

Write the decisions down. Approve a physical sample. Confirm batch color control. That is how a private-label windscreen program stays predictable across repeat orders.