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The curve windowTwo full cycles of the movement that Depth, Shape and Offset produce together. The top of the window is full level, the bottom is silence, and a line travels across it while the transport runs.RateHow long one cycle lasts, in musical time. 1/4 is the classic four-to-the-floor pump, 1/8 doubles it, and 1/2 or 1 bar give slow swells that work under pads and breakdowns.DepthHow far the level drops at the start of each cycle. At 100% the signal is fully closed for an instant. Between 60 and 80% is where most club material sits.ShapeHow the level returns. Low values snap back almost immediately and leave only a short bite. High values hold the level down and swell back late, which is the long, obvious pump.SmoothRounds the corners of the movement. At 0 the drop is instant and can click on low bass notes. Around 10 to 20% suits most sources.OffsetSlides the whole cycle in time, as a percentage of one cycle. Use it to put the dip on the off-beat, or to nudge the movement slightly ahead of the kick so the two do not fight.MixBlends the shaped signal with the untouched one. Below 100% you keep some of the original body while still hearing the movement, which is useful on busy busses.OutputFinal level, from minus 24 to plus 12 dB. Deep pumping lowers average loudness, so a little make-up here keeps your comparison honest.Input and output levelThe two meters show what goes in and what comes out, so you can see straight away how much level the movement and the make-up gain are costing you.
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989 Pump in action
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
Both plug-ins, one price
989 Pump and 989 Echo together: the movement and the space of our records, in one download. Two licences, each on up to three machines, and both keys land in your account area straight away.
What is inside
989 Pump — tempo-locked sidechain movement, no routing, no ghost kick
989 Echo — tempo-locked dub delay, filters and saturation inside the feedback loop
macOS and Windows installers for both, manuals and uninstallers included
The curve windowTwo full cycles of the movement that Depth, Shape and Offset produce together. The top of the window is full level, the bottom is silence, and a line travels across it while the transport runs.RateHow long one cycle lasts, in musical time. 1/4 is the classic four-to-the-floor pump, 1/8 doubles it, and 1/2 or 1 bar give slow swells that work under pads and breakdowns.DepthHow far the level drops at the start of each cycle. At 100% the signal is fully closed for an instant. Between 60 and 80% is where most club material sits.ShapeHow the level returns. Low values snap back almost immediately and leave only a short bite. High values hold the level down and swell back late, which is the long, obvious pump.SmoothRounds the corners of the movement. At 0 the drop is instant and can click on low bass notes. Around 10 to 20% suits most sources.OffsetSlides the whole cycle in time, as a percentage of one cycle. Use it to put the dip on the off-beat, or to nudge the movement slightly ahead of the kick so the two do not fight.MixBlends the shaped signal with the untouched one. Below 100% you keep some of the original body while still hearing the movement, which is useful on busy busses.OutputFinal level, from minus 24 to plus 12 dB. Deep pumping lowers average loudness, so a little make-up here keeps your comparison honest.Input and output levelThe two meters show what goes in and what comes out, so you can see straight away how much level the movement and the make-up gain are costing you.
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.