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A dry voice recorded at home can sound flat and boxed in. Put it in a room, a concert hall, a bright plate or a stone cathedral, add echoes timed to your song’s tempo, and hear every change live before you export the file with its tail intact.
Processing locally on your device
Overview
Reverb is the dense wash of reflections a sound makes as it bounces around a space. This tool creates it by convolution: your audio is combined with an impulse response, the “fingerprint” of how a space answers a single click. Instead of shipping recorded impulses, it generates them in code from your settings: decaying stereo noise, shaped by a filter that darkens the tail over time, plus discrete early reflections for the room, hall and cathedral types. The generator is deterministic, so the preview and the export use exactly the same reverb.
Decay (RT60) is the time the reverb takes to fall by 60 dB, adjustable from 0.2 to 10 seconds. Real rooms range from about 0.3–0.6 s for a small room to 4 s or more in a cathedral. Pre-delay, 0–150 ms, is the gap before the reverb starts; 10–40 ms keeps words clear even with a long tail. Damping makes high frequencies die away faster, as they do in real rooms with soft furnishings, and Width controls how different the left and right reverb channels are.
Echo is a distinct repeat. A delay line plays the sound back after 20–2000 ms, and feedback sends part of each repeat back in, so it echoes again more quietly. Ping-pong mode alternates the repeats between the left and right channels. To lock echoes to a song, enter its BPM and click a note value: a quarter note is 60,000 ÷ BPM milliseconds, so at 120 BPM it is 500 ms. An equal-power dry/wet control blends the effects with the original.
When you export, the tool renders extra time after the last sample, the pre-delay plus decay, or however long the echoes need to fall below −60 dB, up to 30 seconds, so the effect rings out naturally instead of being cut off. The output is stereo.
| Effect | Setting | Typical use |
|---|---|---|
| Room | 0.3–0.6 s decay | Natural ambience on speech |
| Plate | 1–2 s decay, low damping | Pop vocals, snare |
| Hall | 1.5–2.5 s decay | Ballads, orchestral, piano |
| Cathedral | 4 s or longer decay | Choirs, ambient, slowed + reverb |
| Slapback echo | 80–120 ms, little feedback | Rockabilly vocals, guitars |
| Quarter-note delay at 120 BPM | 500 ms | Rhythmic echoes in pop |
Drop in a vocal, instrument or full song.
Press Preview and pick Room, Hall, Plate or Cathedral.
Adjust decay, pre-delay, damping and width, then set the dry/wet mix.
Optionally switch on Echo or Ping-pong and set time and feedback, or sync it to a BPM.
Export; the reverb and echo tail is added to the end of the file.
Use cases
A plate or hall reverb at 15–25% wet helps a phone-recorded vocal blend with a backing track instead of sounding pasted on top of it.
Combine a slowed-down song with a long hall or cathedral reverb and a high wet mix for the dreamy style that is popular on video platforms.
A tiny amount of room reverb, around 0.4 s and 10% wet, makes a very dry close-mic recording sound less clinical without making it echoey.
Place footsteps, dialogue or effects in a hallway, cave or hall to match a scene, or add rhythmic ping-pong echoes to a guitar loop.
Pro tips
Answers to common questions about the reverb / echo.
Reverb is thousands of reflections blending into a smooth wash that tells you the size of a space. Echo is a separate, clearly audible repeat after a delay. Large spaces produce both, which is why the tool lets you combine them.
Divide 60,000 by the tempo for a quarter note in milliseconds. At 120 BPM that is 500 ms, an eighth note is 250 ms and a dotted eighth is 375 ms. Enter the BPM and click a note value to set it automatically.
No. The export renders extra time after your audio ends, based on the decay and echo settings, so the effect fades out naturally. The preview stops at the end of the original, so you’ll only hear the full tail in the exported file.
Long decays pile up low frequencies. Shorten the decay, raise the damping, choose Plate or Room, or lower the wet level. Reverb on bass-heavy material is usually best kept subtle.
No, the impulse responses are synthesized from your settings rather than recorded in real buildings. That keeps the tool small and lets you change decay, damping and width freely, which recorded impulses can’t do.
No. ToolEnhancer processes files on your own device inside the browser. They are never sent to, stored on or seen by our servers.
Yes. The reverb / echo is free to use with no sign-up, no watermarks and no daily limits.