Free online tool

Slowed Reverb Editor

Slowed reverb editor with per-track settings, custom presets, A/B against Dry and multi-track selection. Tune speed, reverb, bass and tone, then export MP3.

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.

Most slowed and reverb tools are converters: pick a file, pick a strength, get a result. This page treats the tool above as an editor, which is what it is. You can load many tracks, give each its own settings, switch between your edit and the untouched Dry version while the music plays, save your own presets and come back to them next week. If you are the kind of person who moves a slider by 2 dB and listens again, this page is written for you.

For a straightforward first edit, the slowed reverb maker page is quicker. For the mechanics of processing a whole folder, see batch audio editor. For a reference on what the built-in presets contain, the Haze Chamber and Wave Drift pages list every value.

The editor's parts

Track list

Every file you add becomes a track in the list. Each track remembers its own settings. Clicking a track selects it, and whatever you change on the sliders applies to the selected tracks only. Select All Tracks and Clear Selection let you move between editing everything and editing one thing. Delete Selected and Delete All clear the list.

Controls

Seven controls, each with a defined range:

Presets

Four built-in presets ship with the editor. Dry is the untouched reference at 1.00x with no reverb and flat tone. Haze Chamber is the heavy slowed sound: 0.85x, 54% reverb, 1.2 s space, +12 bass, -10 tone, 1.5 width. Wave Drift is the cleaner cousin: 0.90x, 50% reverb, 2.8 s, +2 bass, -1 tone, 1.08 width. Lift is a sped up preset at 1.30x with no reverb. Below them sit any presets you have created.

Preview and visualizer

Press play and the selected track runs through the full chain. A spectrum visualizer shows what the output is doing in real time. The preview chain and the export chain are identical, so the preview is the truth, not a sketch.

A/B against Dry

The single most useful habit in this editor is switching between your working preset and Dry while the track is playing. Dry is not just a reset. It is your reference. After a few minutes of listening to a slowed, reverberated mix your ears adapt, and the edit starts to sound normal. Flip to Dry and the original snaps back. Flip again and you hear exactly what you added.

What to listen for on each flip:

• Words. Can you still follow every line of the chorus in the edit? If not, Reverb is too high.
• Kick. Does the drum still have a front edge, or has it turned into a soft thud? If so, lower Space or raise Tone a little.
• Weight. Does the edit feel heavier than Dry in a good way, or just louder in the lows? Bass above +8 dB often sounds like the second.
• Width. Does the edit feel wider without the center vocal getting hollow? Width above 1.3 can do that.

If you want to keep a tweaked version of Dry as your reference, for example Dry at 0.85x with no reverb so you can judge the reverb on its own, save it as a custom preset. The Dry preset page has more on using it as a reference.

Per-track settings

This is where the editor separates itself from a converter. Suppose you have an album of twelve songs. Nine of them are mid-tempo with clear vocals and want 0.85x and 38% reverb. Two are ballads already slow enough that 0.85x drags, so they want 0.90x and 30%. One is an instrumental that can take 0.78x and 60%.

The workflow:

1. Add all twelve files.
2. Select All Tracks. Set 0.85x, 38% Reverb, 2.8 s Space, +5 Bass, -3 Tone.
3. Clear Selection. Select the two ballads. Set 0.90x and 30% Reverb.
4. Clear Selection. Select the instrumental. Set 0.78x, 60% Reverb, 4.0 s Space.
5. Select All Tracks. Download All. One ZIP, twelve MP3s, three different treatments.

Each track keeps its own settings until you change them. You can also preview any single track at any time to confirm what it is set to.

Workflow for people who tweak

Change one thing at a time

Move one control, listen for ten seconds, flip to Dry, flip back. Two changes at once make it impossible to tell which one helped.

Work in this order

Speed first, because tempo changes how much room the reverb has. Then Reverb, then Space. Then Bass and Tone to correct what slowing did to the balance. Width last, because it is the control most likely to sound good on headphones and fail on a phone speaker.

Save checkpoints

Create a preset when you reach a state you like, even if you are not finished. Call it something like "Album v1". If the next twenty minutes of tweaking make things worse, you can get back. Presets are stored in local storage on this device.

Build a small library

Most heavy users end up with three or four personal presets: a clean one around 0.88x and 30% for dense vocals, a standard one around 0.84x and 40%, a deep one around 0.78x and 55% for instrumentals, and maybe a sped up one for the occasional nightcore request. The clear vocals settings guide is a good source for the first of those.

Audition before you commit

Before giving a whole batch the same treatment, preview the busiest song in the batch at those settings. If the busiest one survives, the rest will.

Three starting presets you could save

What the editor does not do

It is an editor for speed, pitch, reverb, tone and width. It does not trim, split, chop or stutter. It does not shift pitch independently of speed. It does not offer EQ bands beyond the two shelves. It exports MP3 at 96 kbps and 32 kHz only, no WAV or FLAC, one file per track or a ZIP for a selection. That bitrate keeps encoding fast inside a browser and is fine for YouTube, TikTok and Shorts, where uploads are re-encoded anyway. For a master that goes to streaming, edit a WAV source here to find your settings, then recreate them in a DAW for the final bounce.