A burst at a spoken p or b needs a local listening test before you cut bass from the entire narration. Compare the original syllable with a carefully edited copy and, when possible, an alternate take. A broad filter can make every other word thin while leaving a damaged syllable unconvincing. Keep the source so a repair can be rejected without losing the recording.
Find the event, then identify its limits
Play the phrase without music. Note whether the burst coincides with a lip consonant, occurs at every edit boundary or continues through silence. Those observations separate a possible airflow plosive from a file-boundary click or steady room rumble. A large waveform alone cannot establish the cause.
Listen to the surrounding vowel as well. If the recording is distorted beyond the brief burst, lowering that event does not recreate a clean source. A second microphone or another take may provide a more credible replacement. Avoid treating a spectral view as proof that all desired speech occupies a different region from the disturbance.
Test a narrow correction
Adobe's selection guidance documents time and spectral selections in Audition. Use an external editor to isolate the actual event rather than applying a full-file operation by habit. Make one restrained candidate, listen to the whole word, and compare it with bypass at a sensible voice level.
A local level reduction or frequency-selective edit is a candidate, not a guaranteed fix. Keep its transition clear of unaffected syllables. If an edit clicks, extend the review around both boundaries instead of masking it with louder music. Save the tested interval and treatment notes so another editor can reproduce your decision.
A hypothetical pop-filter rehearsal
Record a short authorized test line containing “paper,” “people” and a word without a lip consonant. Keep gain and position documented. Make a second take after changing one placement or airflow-protection choice. Shure's microphone guide provides placement context; the appropriate position depends on the actual microphone.
Compare each full word, not just the reduced bass spike. This is a proposed rehearsal, not evidence that a particular filter or distance succeeded. A review sheet can record burst audibility, vowel fullness and timing. A softer pop is insufficient if the word now sounds interrupted or its initial consonant disappears.
Decide between repair and replacement
Accept the local edit when the burst is unobtrusive, the complete word remains understandable and no new edge click appears. Prefer an authentic alternate take when damage extends into wanted speech or repeated repairs make the line unstable. Match any replacement's phrasing and room character; keep a record of which take supplied it.
Check the rendered narration in the film mix and on an ordinary speaker. Do not describe new speech as recovered original audio. Imagild's Skills can support the visual brief; this source-audio diagnosis and any external repair remain separate production steps. Prevention in the next recording and acceptance of the present file are also separate decisions.