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The repeat displayThe next four repeats: how loud each one starts and how quickly it dies away, drawn straight from the Feedback setting. A line travels across it in time with the delay.SyncOn, the delay follows the project tempo and the Division menu sets the length. Off, the Time knob sets it in milliseconds and the delay ignores the tempo.DivisionThe musical length of one repeat. Dotted 1/8 is the classic, 1/4 gives a wide slow throw, and 1/16 turns into a slap that thickens rather than repeats.Ping PongSends the feedback across the stereo image, so the repeats alternate left and right. On a mono source it opens the sound out. Leave it off when the delay has to stay in the centre.DIVEPress and hold it: the feedback goes just past unity, the high cut drops and the low cut rises, and the loop turns into a dark, swelling roar. Let go and it slides back to your settings.TimeFree delay length, from 10 to 2000 ms, active when Sync is off. Turning it while sound is in the loop bends the pitch of the repeats, exactly like pulling on a tape transport.FeedbackHow much of each repeat goes back into the loop. Around 40% gives three or four audible repeats, above 75% the tail lasts many bars. A limiter inside the loop stops it running away.Low CutRemoves low end from the repeats, once per pass. Raise it to keep the delay out of the way of the kick and the bass. On a busy track 200 to 300 Hz is normal.High CutRemoves top from the repeats, once per pass, so the tail gets progressively darker. This is what makes an echo sound like it is moving away from you. Below about 3 kHz you are in dub territory.DriveSaturation inside the loop. Low settings add warmth and glue, high settings compress and thicken each repeat until the tail turns into a soft wash.WowTape instability: a slow drift plus a faster flutter, both modulating the delay length. A little takes the digital stiffness off, a lot makes the repeats seasick.MixBalance between dry and delayed signal. On a send return set it to 100%, on an insert 20 to 35% is usually plenty.OutputFinal level, from minus 24 to plus 12 dB, after everything else.Input and output levelThe two meters show what goes in and what comes out, so you can see at a glance what the repeats and the drive are adding.
Hover any control to read what it doesTap any control to read what it does
989 Echo in action
Delay that moves with the track
989 Echo is the dub delay we use on our own records. It locks to your project tempo, and every repeat comes back darker and warmer than the one before, because the filters and the saturation live inside the feedback loop, not after it. Change the tempo and the tape slides, the way it does on the real thing.
What you turn
Time — locked to your DAW tempo, with a tape glide when the tempo changes
Feedback — filters and saturation inside the loop: each repeat darkens and warms
Wow & flutter — the drift and wobble of a worn tape head
Ping pong — repeats thrown left and right across the stereo field
DIVE — hold it and the echo takes off into controlled self-oscillation; let go and it settles
Mix and Output — blend it back in and match the level
Nine factory presets, from a short slap to a full dub washout
What you download
macOS installer — VST3, Audio Unit and standalone app, Apple Silicon and Intel, signed with our Developer ID and notarised by Apple
Windows installer — VST3, 64-bit
User manual, eleven sections, with install and uninstall instructions
Uninstaller included on both systems
Your licence
One licence for you, activated online on up to three machines. Move to a new computer whenever you like: sign in to your account area on this site and release the seat there. Your keys and your machines are always visible in the same place.
The repeat displayThe next four repeats: how loud each one starts and how quickly it dies away, drawn straight from the Feedback setting. A line travels across it in time with the delay.SyncOn, the delay follows the project tempo and the Division menu sets the length. Off, the Time knob sets it in milliseconds and the delay ignores the tempo.DivisionThe musical length of one repeat. Dotted 1/8 is the classic, 1/4 gives a wide slow throw, and 1/16 turns into a slap that thickens rather than repeats.Ping PongSends the feedback across the stereo image, so the repeats alternate left and right. On a mono source it opens the sound out. Leave it off when the delay has to stay in the centre.DIVEPress and hold it: the feedback goes just past unity, the high cut drops and the low cut rises, and the loop turns into a dark, swelling roar. Let go and it slides back to your settings.TimeFree delay length, from 10 to 2000 ms, active when Sync is off. Turning it while sound is in the loop bends the pitch of the repeats, exactly like pulling on a tape transport.FeedbackHow much of each repeat goes back into the loop. Around 40% gives three or four audible repeats, above 75% the tail lasts many bars. A limiter inside the loop stops it running away.Low CutRemoves low end from the repeats, once per pass. Raise it to keep the delay out of the way of the kick and the bass. On a busy track 200 to 300 Hz is normal.High CutRemoves top from the repeats, once per pass, so the tail gets progressively darker. This is what makes an echo sound like it is moving away from you. Below about 3 kHz you are in dub territory.DriveSaturation inside the loop. Low settings add warmth and glue, high settings compress and thicken each repeat until the tail turns into a soft wash.WowTape instability: a slow drift plus a faster flutter, both modulating the delay length. A little takes the digital stiffness off, a lot makes the repeats seasick.MixBalance between dry and delayed signal. On a send return set it to 100%, on an insert 20 to 35% is usually plenty.OutputFinal level, from minus 24 to plus 12 dB, after everything else.Input and output levelThe two meters show what goes in and what comes out, so you can see at a glance what the repeats and the drive are adding.