Without reading your post, my suggestion based on the topic title is to use a pop shield.
Now I realise you do have sense in you.

Have you tried angling the mic to point away from your mouth, say at 70 degrees coming across from the left/right hand side?

What are the relative levels of the vocals and the noises? Is some sort of expander an option?

Of course, the real answer is singing lessons, but probably not an option.

A de-esser may help for some mouth noise. Or a noise gate if it is the sound of a mouth opening before singing.

Compared to 20 years ago, I've been hearing a lot of mouth and breath sounds in popular recordings of late. It seems to add a bit of intimacy to the performances. I assumed it was an artistic decision on the producer's part to leave them in.

yea, that or the smoke. I say get the girl a drink of water and tell her to Man up!!!

Space wrote: yea, that or the smoke. I say get the girl a drink of water and tell her to Man up!!!

Unless she's singing "Walk on the Wild Side" or "Lola," I wouldn't recommend that.

Get your voice out there, project it, make it audible for christs sake.

Stop singing like a girl!!!

Mouth noise has always been an apparent problem with certain performers. Some people are just more juicy than others or have dentures. Announcers with dentures are a huge problem as they frequently click. But there is no good way to remedy this issue.

Since certain noises are impulse transient in nature, I would try "click/pop" noise reduction removal, in software?

Another possibility is to utilize a downward expander with peak detector, not RMS, with a variable control threshold & variable depth. You set the depth to between -3 & -10. Fast attack, medium release. But setting the threshold is the trickiest part. This won't necessarily eliminate the sounds but reduce them to more reasonable and listenable levels. It will also help to remedy the sound of gasping for breath since compression will just exacerbate the problem.

I like to be just ducky
Ms. Remy Ann David

all good pieces of advice IMO.

From a VO perspective, the inclination is to first use an off-mic approach if possible and to work your way towards HW options from there.

I've had a few folks in my studio of late who made me very happy that I'd purchased a Lil' FrEQ (recently added a new pair), as it has one of the nicest de-essers I've ever used.