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Yes—but not by making dialogue louder. GreatScott’s project uses a microphone, an Arduino Pro Micro and an infrared LED to lower a television or audio system’s volume when loud passages persist, then send volume-up commands to restore the previous level when the soundtrack becomes quieter.
It is best understood as an automatic remote-control volume leveller. It does not isolate speech, boost a center channel or process the audio signal directly.
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The problem is usually dynamic range
Many viewers know the cycle: dialogue is difficult to hear, so the volume goes up; an explosion, gunshot, music cue or bass-heavy effect then becomes uncomfortably loud, so the volume goes down again. Subtitles or constant remote adjustments become the workaround.
That does not necessarily mean the movie was badly mixed. A soundtrack may preserve a wide difference between quiet dialogue and loud effects, while a television’s small speakers, an incorrectly configured surround system, room noise or a poorly positioned center speaker makes that range difficult to reproduce at home. HVAC systems, fans and appliances can also mask speech.
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In a cinema, the soundtrack, speakers and room are designed as a system. A television in a reflective living room has a much smaller margin for wide dynamics.
Further background on the home-theater problem is available from WIRED and Popular Science.
What GreatScott built
Hackaday’s September 29, 2021 report describes a circuit by GreatScott with this signal and control path:
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│
▼
Microphone → amplifier → Arduino analog input
│
loudness/event algorithm
│
IRremote commands
│
IR LED → TV or receiver
- Microphone: hears the sound produced in the room.
- Microphone amplifier: raises the signal for the Arduino’s analog input.
- Arduino Pro Micro: samples the signal and decides when the sound has been loud for long enough.
- IR LED: imitates the volume buttons on the original remote.
- IRremote library: decodes and reproduces the target device’s infrared commands.
- Two potentiometers: one adjusts the loudness threshold or dead band; the other adjusts timing sensitivity—how frequently loud events must occur before the circuit reacts.
The project is non-invasive: it does not require opening the television or electrically inserting hardware into the audio path.
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Read the original summary on Hackaday, and consult GreatScott’s linked project page for the original build materials.
How the detection loop works
The Arduino continually measures the amplified microphone signal. A potentiometer establishes an adjustable threshold. One isolated peak—such as a clap, scream, whistle or dropped object—is ignored. Instead, the software looks for repeated threshold crossings within a relevant time window.
- A sustained or repeatedly loud passage produces enough threshold events.
- The Arduino sends one or more volume-down commands through the IR LED.
- The loud passage ends and the measured level remains below a lower critical level.
- The controller assumes the soundtrack has returned to quieter material.
- It sends volume-up commands corresponding to the earlier reductions.
This is event-density detection, not speech recognition. The circuit does not know whether it is hearing an explosion, music, shouting, laughter or somebody talking in the room. It uses repeated loudness as a rough proxy for the kind of passage that causes viewers to reach for the remote.
Why the ADC prescaler matters
Hackaday notes that the sampled signal could contain frequencies approaching 20 kHz, while the Arduino’s default ADC configuration would make measurements below roughly 5 kHz. The project therefore changes the ADC prescaler to increase sampling speed.
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That does not turn the Pro Micro into a high-fidelity audio recorder or a calibrated 20-kHz analyzer. The controller mainly needs a useful indication of changing loudness. Faster sampling can make the detector more responsive, but the exact prescaler value, sample rate, filtering and averaging method should be taken from the original firmware or project documentation rather than guessed.
Why it can help dialogue without enhancing dialogue
The circuit does not raise speech relative to music or effects on a frequency-by-frequency basis. Its benefit is indirect:
- Without it, the viewer keeps the master volume low enough for explosions to be tolerable, making dialogue hard to hear.
- With it, the viewer can set a higher normal volume so quiet speech is easier to hear.
- When a loud passage persists, the circuit reduces the master volume.
- When the passage ends, it attempts to restore the previous level.
“Automatic volume leveller” or “remote-controlled dynamic-range reducer” is therefore more accurate than “dialogue enhancer.” It emulates some of the practical effect of compression by changing the system volume; it does not compress the audio waveform itself.
Can you build it?
The architecture is clear, but the available summary is not a complete construction guide. It does not establish the exact microphone, amplifier IC, resistor and capacitor values, Pro Micro voltage variant, IR LED drive circuit, power supply, firmware settings, enclosure or wiring diagram.
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A responsible build process is:
- Identify the television or receiver’s infrared volume protocol using its existing remote.
- Use the Arduino IRremote library to decode the signal.
- Confirm that an IR LED can reproduce volume-up and volume-down commands for the target device.
- Feed the microphone-amplifier output into an Arduino analog input.
- Implement the required ADC timing from the original project code.
- Adjust the threshold and timing controls so isolated sounds are ignored.
- Track each volume-down command and send the corresponding number of volume-up commands after the quiet period.
Do not assume that a generic Pro Micro, microphone module or IR LED will behave exactly like the parts in the original build. Verify the original GreatScott materials before ordering parts or copying firmware.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Try the built-in fixes first
For most viewers, the DIY circuit should not be the first remedy. Work through the audio system in this order.
1. Check the audio format and center channel
In a conventional multichannel system, dialogue is commonly routed primarily through the center channel, although this is not universal across stereo mixes, soundbars, downmixers or immersive-audio renderers.
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- Check that the center speaker is connected.
- Make sure it is not hidden inside a cabinet or behind an acoustically opaque panel.
- Run the receiver’s speaker-level calibration.
- Raise the center-channel level modestly.
- Test both a dialogue-heavy scene and an effects-heavy scene.
A 3.1 system—with left, right, center and subwoofer channels—can be a more useful dialogue upgrade than simply buying a louder two-channel system.
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2. Enable dynamic-range compression or night mode
Depending on the equipment, look for labels such as Night Mode, Night Sound, Dynamic Volume, Dynamic Range Compression, Late Night, Reduce Loud Sounds or Dialogue Enhancement. These settings bring loud and quiet portions closer together, reducing remote adjustments. The trade-off is less of the soundtrack’s intended cinematic impact.
3. Reduce competing room noise
Turning down an air conditioner, fan or nearby appliance may improve intelligibility more effectively than increasing playback volume. Reflections and speaker placement also matter.
4. Consider headphones or subtitles
Headphones reduce room-noise and acoustic problems, while subtitles solve intelligibility without altering the mix. Bluetooth headphones can introduce audiovisual delay; wired or verified low-latency options may be preferable. See the practical guidance from Popular Science.
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Where the circuit falls short
- It hears the room: a dog bark, vacuum cleaner, dropped object or nearby conversation can trigger a reduction.
- It cannot identify content: loud dialogue, singing, applause and music may be treated like an explosion.
- IR is device-specific: compatibility depends on the protocol, command format, alignment and the target’s receiver. Devices controlled by Bluetooth, RF, HDMI-CEC or a network interface may not respond.
- It may respond slowly: ignoring isolated peaks requires waiting for repeated events, so the beginning of a loud passage may get through.
- It can pump: a low threshold or aggressive timing setting may cause repeated volume changes during action scenes, music or applause.
- Volume can drift: missed IR packets, rate limits, manual remote use or startup-volume behavior can mean that the later volume-up commands do not exactly restore the original level.
- It changes the experience: loud effects lose impact, just as they do with conventional night modes.
Which solution makes sense?
| Solution | Dialogue benefit | Controls loud passages | Build required | Preserves original mix |
|---|---|---|---|---|
| Center-channel adjustment | Often | No | No | Mostly |
| Night or dynamic-range mode | Indirectly | Yes | No | No |
| Dialogue-enhancement mode | Often | Sometimes | No | No |
| Better 3.1 or 5.1 setup | Often | No | No | Mostly |
| Headphones | Often | Indirectly | No | Mostly |
| GreatScott-style circuit | Indirectly | Yes | Yes | No |
| True DSP compressor | Potentially | Yes | Advanced | No |
Choose a soundbar or receiver based on independent dialogue control, a dedicated or virtual center channel, dynamic-range management, calibration and suitable HDMI ARC/eARC support—not simply on wattage or bass output. A more expensive system will not automatically fix an obstructed center speaker or incorrect configuration.
Bottom line
GreatScott’s circuit is an inventive solution for hobbyists who want a non-invasive, microphone-controlled experiment. It automatically changes the master volume through infrared, giving the viewer a higher baseline for dialogue and reducing sustained loud passages.
It is not a true dialogue processor, it will not work with every television or sound system, and it can react to sounds that are not in the movie. For ordinary home-theater problems, check the center channel, calibration, room noise and built-in night or dynamic-range settings first. Build the circuit when the project itself is the attraction—or when the equipment lacks a usable automatic-volume feature.
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