Add Reverb to Audio
Place a dry recording in a room, hall, plate, or cathedral
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Add Reverb to Audio
Reverb is what turns a close, dead recording into something that sounds like it happened in a real space. This tool convolves your audio with a generated impulse response, so the ambience has an actual decay shape rather than a single slap-back echo.
The four controls that matter:
- Amount sets how much of the reverberated signal is mixed back in
- Room size sets the length of the impulse response, from a tight booth to a large hall
- Decay shape sets how quickly the tail fades — a low value is a dense, bright tail; a high value is a slow, dark one
- Pre-delay sets the gap before the reverb begins, which is what keeps a vocal intelligible instead of washed out
Secrets worth knowing: a little pre-delay of 20–40 ms does more for vocal clarity than any amount of EQ afterwards, because it lets the dry consonant land before the tail arrives. And adding reverb almost always raises peak level — the tail stacks on top of the dry signal — so check the export for clipping.
Presets: Room, Hall, Plate, Cathedral, and Shimmer give you a usable starting point; every value stays editable afterwards.
Export: WAV renders the full tail. MP3 is smaller but lossy. Decoding, processing, and encoding all run in this browser tab. The file you select is not uploaded, and the rendered audio is not stored on any server.
How It Works
Load a dry recording
Add the vocal, instrument, or podcast file that needs space.
Pick a preset
Start from Room, Hall, Plate, Cathedral, or Shimmer.
Tune amount and decay
Adjust the wet level, room size, decay shape, and pre-delay.
Render and export
Preview the result and download WAV or MP3.
Features
Real Decay Shapes
Generated impulse responses, not a single delay line.
Pre-delay
Keeps speech intelligible by delaying the onset of the tail.
Five Presets
Room, Hall, Plate, Cathedral, and Shimmer starting points.
Tail Preserved
The render extends past the input so the decay is never cut off.
Choosing a Space for the Material
Room presets work when the recording should sound intimate but not dead — a podcast, a close-miked vocal, an acoustic guitar. Hall and cathedral presets suit sustained material: pads, choirs, strings, and anything that benefits from a long tail. Plate sits between the two and is the traditional choice for vocals and snare because its dense, bright tail cuts through a mix without smearing the low end.
The mistake to avoid is treating reverb as a fix for a bad recording. Reverb makes a good, dry recording sound better; it makes a noisy, badly positioned recording sound noisy in a bigger room. If the source has problems, deal with them first — reduce noise, fix levels, then add space.
Pre-delay, Decay, and Export Review
Pre-delay is the single most underused control in reverb. Setting it between 20 and 40 ms separates the dry transient from the wet tail, which lets a listener understand the words while still hearing the space. Setting it to zero is what produces the muddy, indistinct result people associate with too much reverb — the problem is usually the missing gap, not the amount.
Every effect here is deterministic: the same file and the same control values produce the same output. That means you can reproduce a result later, but it also means the tool will not guess what you intended — check a short excerpt before rendering a long file, and keep the original.
Because convolution is deterministic, a rendered file can be reproduced exactly from the same input and settings. Keep a note of the preset and values if the result needs to match a later revision. And remember that reverb is a creative decision with a rights dimension when you are processing material you did not record: adding a reverb tail does not change who owns the underlying performance.
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Add Reverb to Audio — FAQ
What does reverb actually do to audio?
It simulates the reflections a sound makes in a physical space. The direct sound reaches the listener first, then reflections arrive over the following milliseconds and seconds. Convolution reverb reproduces that pattern by multiplying your audio against a recorded impulse response.
How much reverb should I add?
Less than feels satisfying while you are listening closely. Reverb is easy to over-apply because the effect is pleasant in isolation; on a full mix it quickly reduces clarity. Start at 20–30% and raise it until the source sounds like it is in a space, not like it is in a wash.
Why does the exported file sound quieter or clip?
Reverb adds energy on top of the dry signal, so the peak level rises. If the result clips, reduce the amount or lower the input level before rendering. The render already extends past the end of the input so the tail is complete rather than truncated.
Can I remove reverb instead?
Not here. Reverb removal is a deconvolution problem that this tool does not attempt, and no browser tool solves it reliably on real material. The noise remover can reduce steady background noise, which is a different problem.
Does reverb work on speech?
Yes, and it is the most common use. Speech needs more pre-delay and less amount than music so the consonants stay clear; start with 20–30 ms of pre-delay and 20% wet.
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