Change your voice. Live, or over a recording.
safe · secure · no server · works offline · fast
…or paste a file you copied in Finder, or just start typing at the cursor.
↓ scroll for about & FAQsafe · secure · no server · works offline · fast
…or paste a file you copied in Finder, or just start typing at the cursor.
↓ scroll for about & FAQ
Live puts your microphone through the effect and into the
speaker now: turn a knob while you talk and you hear the answer
immediately, which is a much faster way to find the setting you wanted than
rendering a two‑minute clip to discover you wanted Demon at
−8 rather than −6. Rendered runs the same
effect over a recording you already made, offline, through an
OfflineAudioContext — which buys three things a live
filter cannot: it is faster than real time,
exactly repeatable, and undoable, since
the original buffer is never touched.
They are not two implementations. An effect is a function that takes an audio context and returns a node, and nothing in it cares whether that context is running in real time or rendering as fast as it can — so the eleven effects built out of filters, delays and convolution are literally the same code in both modes, and cannot drift apart.
About 40–90 ms from microphone to speaker: the pitch shifter’s own 21 ms, plus whatever your audio hardware adds. The tab measures it and shows you the number rather than hiding it. For a shifted or robotised voice that delay reads as an effect, because the result does not sound like you and so does not fuse with your own voice; on Telephone at full wet it reads as a short slap on yourself. That is inherent to the medium, not a bug in this page.
Headphones are the honest answer. A speaker beside a microphone is a loop, and a loop with gain in it sings. Nothing is audible until you press Listen, a detector watches for the single rising line that feedback always is and cuts the monitor if it finds one, and Record works with the speaker off — so you can make the file on a laptop with no headphones, you simply will not hear it while you do. This page cannot become a microphone for other applications: a browser cannot install itself as an input device, so it will not change your voice in a video call.
Reverse needs the future, and a stream does not have one. Chipmunk plays faster than the microphone can produce input; Slow‑mo plays slower, so its delay would grow without bound. All three are greyed in Live with the reason on the chip, because “this one cannot exist here” is a more interesting answer than a missing button.
Helium and Demon are the two that a browser cannot do on its own. Web Audio can change playback rate, and that moves pitch and duration together — the tape trick, which is what Chipmunk and Slow‑mo are. Moving one without the other means stretching time and resampling back, with a WSOLA alignment search so the grains line up instead of cancelling into the hollow, flanged sound of a cheap time‑stretch. Shift up seven semitones and every word stays exactly where it was.
Reverb needs no impulse‑response download: the room is decaying noise with a handful of early reflections in front of it, and one Size knob takes it from a booth to a cathedral. Street, Rain, Café and Stadium are synthesised too — traffic is brown noise with car passes whose filter opens as they approach, a café is six voices that are not voices but bands of noise modulated at a syllable rate, rain is bright hiss with individual drops landing on it. No audio assets, nobody else’s copyright, about fifteen lines each.
The rest of the rail is Robot (ring modulation), Telephone, Megaphone, Underwater, Vinyl, Whisper, Alien, Echo and Reverse — the one effect here that loses nothing at all, since running it twice gives back the file you started with. Render, and the result is encoded to MP3 by the same encoder the recorder used — and in Live, so is whatever you capture while listening.
It’s one lens on OmniViewer’s Voice Recorder — Record MP3 Online: drop a file and every tab is one click away. OmniViewer opens every file format, entirely in your browser — no upload, no server.
No. OmniViewer is a static page with no server-side processing. The microphone is opened by your browser, the audio is captured and encoded to MP3 on your own machine, and nothing is sent anywhere — there is no server to send it to. The microphone is released the moment you stop recording or leave the page.
Two hours in a single take. The limit is enforced rather than merely documented: the recorder stops itself at 2:00:00 and says so, rather than silently truncating. At the Voice preset that is about 55 MB, and at Studio about 275 MB — both shown before you start.
A real MP3. Browsers cannot record MP3 natively — they record WebM/Opus, or MP4/AAC on Safari — so OmniViewer transcodes the capture in the page with a genuine ffmpeg compiled to WebAssembly, using libmp3lame. The encoder is about 31 MB and is downloaded once, the first time you stop a recording, never on page load.
Voice (64 kbps mono) for speech, interviews and memos — it is small enough to email a two-hour recording. Standard (128 kbps mono) is the default and is transparent for a voice. High (192 kbps stereo) if you want the room or an instrument. Studio (320 kbps) is the most MP3 can carry and is worth it only if the source deserves it.
Almost certainly echo cancellation, noise suppression or auto gain control — three pieces of DSP browsers apply to a microphone by default. They are tuned for video calls, so they remove room sound, treat non-speech as noise to be suppressed, and continuously adjust your level. All three can be turned off under Advanced, and the CAPABILITIES tab shows whether the microphone actually honoured the request.
Yes — the TRANSFORM tab has twenty, rendered offline over the finished recording so they are exact and undoable. Helium and Demon shift pitch while keeping the duration, which a browser cannot do on its own. There is synthesised reverb, echo, robot, telephone, megaphone, underwater, vinyl, whisper, alien, reverse, chipmunk and slow-mo, plus street, rain, café and stadium backgrounds that are generated rather than sampled.
Yes. The finished MP3 hands straight off to OmniViewer’s /mp3 EXPORT tab, which converts it to WAV, FLAC, M4A, Opus or Ogg — from the file already in memory, so it is never written to disk or uploaded on the way. /mp3 STUDIO will also cut a shorter clip out of it losslessly, without re-encoding a single frame.
Yes, on any modern mobile browser that supports MediaRecorder — which is all of them. Safari records into MP4/AAC rather than WebM/Opus and OmniViewer transcodes either one to MP3 the same way. The interface is one large button by design, which is as true on a phone as on a laptop.