Reverb and Room Boom Removal for Voice

An online tool for removing reverb and room boom from speech recordings. It is built for recordings made in a tight booth, a closet or a small room, where the low end sounds barrel-like and ordinary noise reduction does not help.

How to remove room boom from a recording

1

Upload the voice recording — ideally the raw one, before noise reduction and other processing.

2

Wait while the tool listens to the pauses and shows the resonances it found and the low-end curve.

3

If you have a recording of the same voice that sounds right, load it as a reference — the low end will be matched to it.

4

Adjust the strength of the stages and how short the ring should become, if you want to.

5

Press the button and compare before and after — the pauses after phrases tell you the most.

6

Pick a format and download the result.

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Clear the boom of a tight booth and keep the natural bass of the voice

Drop a voice recording here or choose a file
MP4, WEBM, MOV, MP3, WAV, M4A, OGG, FLAC, AAC, M4B, WMA, AIFF, OPUS, CAF, MKV, AVI, WMV, FLV, M4V, 3GP, TS, MTS, M2TS, VOB, MPG, MPEG, OGV ·
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How it works

Finds resonances in the pauses, not in the spectrum
In the pause after a phrase the voice is gone, so anything still ringing is the room. A resonance is accepted only when several pauses confirm it with the same decay time.
Shortens the ring instead of cutting a band
An EQ cut at 200 Hz would take the boom together with the pitch of the voice. Here only the decay rate of the resonance changes, and neighboring frequencies stay untouched.
Removes the late tail when there are no peaks
When the low end drags as a whole, with no separate resonances, the second stage removes the part of the sound that repeats the past and keeps the direct sound of the voice.
Takes out steady boom, not only ringing
A tight booth and a close mic lift 100–600 Hz together with the voice, and that never rings. The third stage compares the low end with the norm for a voice of the same pitch, or with your reference, and cuts only the excess.
Shows exactly what it found
A table of frequencies with decay times before and after, a chart of what keeps sounding in the pauses, and the low-end curve next to the norm. When there is nothing to cut, the tool says so.

Frequently asked questions

Why does an equalizer not help against the boom of a tight booth?

The resonances of a small booth sit around 170–250 Hz, the same place as the pitch of a female voice while reading. A cut there takes the boom together with the bass of the voice, and the voice turns thin. Time tells them apart: the resonance keeps ringing after the phrase ends, while the voice decays with the syllable. The tool works from exactly that difference.

The boom is steady and nothing rings in the pauses — what then?

That is what a close mic in a tight booth sounds like: the 100–600 Hz band is lifted evenly, together with the voice, and there is nothing to shorten. The third stage handles it. It compares the low end of the recording with the norm for a voice of the same pitch and removes only what leaves the natural spread of voices. If you have a good recording of the same voice, load it as a reference — the target comes from it, and the match gets more precise.

Why did the recording start sounding echoey after noise reduction?

While steady background noise is present, it masks the ring of the room. Noise reduction removes the noise but treats the ring as part of the voice and keeps it, so it becomes audible. A noise gate adds one more thing: it chops that ring off a fraction of a second after the phrase, which sounds like a ghost echo.

Should I upload the raw recording or a processed one?

The raw one. The tool needs the pauses between phrases where the room can be heard. If a gate has already cut the pauses out, no ring is left in them and there is nothing to measure. The low-end stage works without pauses, though — it measures active speech only.

What happens if the recording was made in a good studio?

No resonances will be found and nothing will be cut — the table stays empty. On such a recording the second stage changes the sound at about minus forty decibels, which is practically nothing. The low end of a studio recording usually fits the norm; if it does not, the tool shows by how much and at which frequency, and the third stage can be switched off with one click.

Does the tool suit music?

It is built for speech. The second stage removes the part of the sound that is predictable from the past, and a long sustained note is predictable in full, so on music it is worth turning down or off. The low-end norm is built from voices as well, not from instruments.

💡 Want us to improve this tool just for you?

We can! Just send us a quick message with your idea. If you'd like to discuss it in detail, leave your email and we'll get back to you. You can stay anonymous.

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Who is this tool for?
🎙️ Podcasters 🎛️ Sound Engineers 📡 Streamers & Broadcasters 📖 Audiobook Narrators
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