Free online tool

Online Reverb Generator

Add a reverb effect to vocals, guitar, voice memos or podcast clips in your browser. Adjustable mix and decay, live preview, no upload, MP3 export in seconds.

Open the free editor: upload MP3, WAV, AAC, OGG or FLAC, adjust speed, reverb, bass, tone, width and space, then export MP3 or a ZIP of many tracks. Everything runs in your browser.

This page is a reverb generator for individual recordings rather than finished songs: a vocal take you recorded on a phone, a guitar riff in a dead room, a voice memo that needs to sound less like a voice memo, a podcast intro that wants a little polish. Load the file, leave Speed at 1.00x, set a wet mix and a decay, listen, export. The convolution reverb runs inside your browser and the result is an MP3 you can drop into a video editor, a DAW or a messaging app.

If you are working on a full mixed song, the add reverb to a song page has settings tuned for dense material. This page focuses on single sources, where reverb behaves differently and where the biggest problem is mud. The two controls are explained in depth on the reverb control page and the space decay page, and the tone control matters here more than people expect.

Why single sources need different settings

A finished song has drums, bass, chords and vocals all filling the frequency spectrum. Reverb on a song has to fight all of that for space, so you need a fairly high wet mix before you hear it. A solo voice or a single guitar has gaps everywhere. The reverb pours into those gaps, so the same 30% mix that sounded subtle on a song sounds like a cave on a vocal.

Start lower than you think. 12 to 25% is the range for most single recordings. Then adjust decay to set the room size rather than pushing the mix up.

Settings by source

Speed is 1.00x and Preserve pitch is off in every row. Width stays at 1.0 unless noted below.

How to avoid mud

Mud is the reason most reverb sounds amateur, and it comes from three places.

Too much low end in the tail. Reverb treats every frequency the same, and low notes are long, so bass piles up in the reverb and never clears. The fix is not less reverb. The fix is a small Bass cut, -1 to -3 dB, which thins the tail without touching the dry character much. On a boomy phone recording go to -3 dB straight away.

Decay longer than the gaps. If a singer takes a breath every four seconds and Space is set to 4.5 s, the tail from one line is still ringing under the next line. Shorten Space until the tail has mostly faded before the next phrase. For speech, that nearly always means 1.2 to 1.6 s.

Mix set by the first second. Reverb sounds beautiful for the first second and then accumulates. Set the mix while listening to a 20 second stretch, not a single phrase. Then back off three to five percent.

A positive Tone of +1 or +2 dB often helps, because reverb dulls the top end slightly and a touch of brightness restores presence to the dry signal.

Step by step

1. Load the recording. MP3, WAV, AAC, OGG or FLAC. A WAV or FLAC source is ideal for a single vocal, because a low-bitrate MP3 of a solo voice has audible artifacts that reverb spreads around.
2. Click Dry. Speed is 1.00x and nothing else is applied.
3. Set Space for the room you want. 1.2 to 1.8 s for a room, 2.2 to 3.2 s for a hall, 4 s and up for something cinematic.
4. Bring Reverb up from zero while a long section plays. Stop when the room is obvious, then back off.
5. Cut Bass a little if the tail thickens. -1 to -3 dB.
6. Listen on a phone speaker. A phone has no low end, so what sounded fine on headphones can vanish or get harsh. Adjust Tone by a dB if needed.
7. Export. The MP3 is encoded in your browser in a web worker.

Using Width with reverb

Reverb on a mono recording, like a phone voice memo, produces a stereo tail even though the source is centred. Nudging Width to 1.1 or 1.2 spreads that tail and makes a single voice feel like it is in a real space. Going further than 1.3 on a vocal starts to pull the centre apart. The stereo widener page covers the control in detail, including the Width 0 trick for checking mono compatibility.

What this generator is and is not

It is a convolution reverb with a synthetic impulse response, a wet mix control, a decay control from 1.2 to 6.0 s, and a fixed 10 ms pre-delay. It gives a clean, neutral space.

It is not a modelled plate, spring or specific famous hall. There is no damping, diffusion, early reflection or pre-delay adjustment, no EQ on the reverb return beyond what the global Bass and Tone shelves do to the whole signal, and no way to apply reverb to one instrument inside a mixed song. For those you need a DAW and a reverb plugin. The point of this page is that for 80% of "I need this recording to sound less dry" jobs, two sliders are enough.

Batches

Recorded ten voiceover lines for a video? Add them all, Select All Tracks, set one reverb, Download All, and every line arrives in a ZIP with identical treatment. Save the setting with Create preset so the next session matches. Presets live in your browser on that device.

Export format

MP3, 96 kbps, 32 kHz. Encoded locally for speed. That is fine for a video soundtrack, a social post or sending someone a demo. It is not a release format, and there is no WAV output. Keep your original WAV, and if the project becomes serious, rebuild the reverb in a DAW from that source.