Give it a live feel

Most of what reads as "live" is reverb. Recordings are made dry and tidy, so putting a room back in moves them toward sounding like a performance happening somewhere.

The reverb sits at 18% — deliberately restrained. Past about 20% on a master the attacks smear and the playing starts to sound less precise. The live feeling keeps increasing; the sense that the musicians are good does not.

The small high-shelf lift is there because adding reverb pushes the top end back; this puts it where it was.

Reverb alone does not get you all the way to "being there". What you actually hear at a gig also includes the crowd, the delay before sound returns off the back wall, and how your ears behave at that volume. Only the first of those is on offer here, and it takes a recording as far as "noticeably wider". Layering crowd noise gets you the rest — but that is adding material, not processing it.

The output lands at −14 LUFS. Adding reverb raises density, and denser audio reads as louder at the same measured level. Unless both versions are matched, that extra loudness gets mistaken for improvement, so export both before you compare.

Sources that already carry a lot of room — hall recordings, acoustic live takes — lose definition when you add more. Dry material benefits most.

QCan I pick the type of venue — hall, club, arena?

No. What this tool exposes is reverb length and how much of it gets mixed in; there is no convolution engine loading impulse responses measured in real rooms. If you need the long tail of a concert hall as distinct from the tight early reflections of a small club, a convolution reverb in a DAW with real impulse responses is the right tool. What you get here is one room added to a dry recording.

QCan I add reverb to only the vocal, or only the drums?

Not on this page — whatever you bring here is treated as one piece of audio and the reverb covers all of it. To do it per part, separate the track first with the stem splitter, run only the parts you want through this page, and remix. Bear in mind the final level match applies to each pass, so you will have to balance the remix yourself.

QIs this good for a karaoke backing track?

Not really. More reverb means softer transients, which makes a backing track harder to sing in time with. If you want reverb on the voice, add it on the singing side — your mic chain or streaming software — rather than baking it into the accompaniment. Reverb mixed into the backing cannot be taken out later; reverb on your own voice stays adjustable.