The standard home-recording advice is to track vocals somewhere acoustically dead - closet full of clothes, duvet over your head, whatever kills the reflections of a bedroom that was never meant to be a studio. Good advice. Follow it. Then accept the consequence: the take comes back sounding close, dry, and slightly suffocated. Present, but existing nowhere.
That's the correct starting point, not a failure. Room sound you record is permanent. Room sound you add afterward can be changed next week when you change your mind, and you will change your mind.
Setup
Browser panel → Audio Effects → drag Reverb onto the vocal track. Order matters a little: after the EQ and compressor, because you want to place the corrected voice in a space, not correct a space-smeared voice.
Three parameters do most of the work:
Wet/dry. How much room you hear against the direct voice. Start lower than feels generous - 10-20%. The target for a band vocal is that the listener can't point at the reverb. If someone hears the track and compliments your reverb, it's too loud. (Unless drenched vocals are the point of the production. Then ignore me; you know what you're going for.)
Pre-delay, 20-40 ms. The gap before the first reflections arrive. This one's underrated: it lets each consonant land dry before the wash catches up, which is how you get a sense of space without the words smearing. At zero pre-delay the reverb starts inside the syllables and the lyric gets soft-focused.
Decay. Under a second reads as a room, 1.5-2.5 s as a hall, longer than that you're doing film work. Match it to tempo more than to taste - long tails need gaps between notes to bloom in, and an uptempo song doesn't have gaps. When in doubt, shorter.
The bypass test
Set it where it sounds right, then bypass the reverb. If the dry version suddenly sounds like a phone call, you're in a good place. If bypassing feels like relief - like someone opened a window - you had too much. I still run this test after twenty years of hearing engineers repeat it, because on headphones at midnight the wet always creeps up.
One note for shared sessions: reverb is a taste call, and in Tutti your bandmates hear yours live. Small placement moves, do whenever. Drenching the bridge as a production idea - do it while others are in the session so the surprise happens together and the undo is a group decision, not a morning-after discovery.