ZEROPINK | THUMP
A drum built from its anatomy —
drawn next to the real one.
A drum is two heads and a stick. The batter head gives the note — the fundamental you tune the drum to. The resonant head sits a fifth away and gives the body: strike a C and the shell answers with a G. And the beater gives the attack — a burst of noise in the first few milliseconds that tells you a drum was hit, not a synth.
Every drum trigger and sample-replacer since the eighties has fixed a weak recording by layering something else over it. THUMP builds the missing drum from those three parts instead — THUMP for the batter head, THUD for the reso head, THWACK for the beater — each with its own level and decay, fired by the real hit, at the real hit’s velocity, in the real drum’s key.
Then the digital half: the glass shows the drum that arrived and the drum you are building side by side, TRACK reads the incoming fundamental and follows it, and REPLACE lets the generated low end own everything below the crossover while the original keeps its top. Familiar weight, precise control.
Kicks recorded thin, or through a small speaker. Toms that lost their note in the room. Snares that need a body under the crack. Electronic kicks that need a real beater.
The trigger is level-relative and velocity-follow is always on, so the generated hit scales with the real one. What matters is what the hit is made of and how long each part rings — so the glass is two waveforms, not a level meter.
GraphEQ — THUMP does not tune the room; reach for GraphEQ first, then build the drum. Drum tuning gives you the note the song wants for FREQ.
IN and SYNTH — two scopes, one time axis.
320 ms across, onset at 20 ms. Read the two against each other: a good result is not SYNTH matching IN — it is SYNTH holding a clean note for exactly as long as the real drum’s body did, with the attack landing on the same sample.
IN
The drum as it arrives: the attack, the low oscillation, its natural pitch settling. Its header prints the detected fundamental in Hz and as a note — this is what TRACK locks to.
SYNTH
The hit you are building. The bright trace is the sum; the three dashed envelopes behind it are THWACK in the first milliseconds, THUD ringing shorter, THUMP carrying the tail. Every knob redraws it live. With SOLO on, IN dims; with ENGAGED off, SYNTH dims.
The footer line
The structure in words: batter note and Hz, the reso head’s note (a fifth up or down), the DROP start, and the XOVER. The crossover is not a knob — it is always 1.5 × the highest generated tone, so REPLACE hands the generators exactly the band they fill and nothing more.
Three parts of a drum.
THUMP · Batter head
The fundamental — a pure sine at the FREQ note. LEVEL −24 to +12 dB on a Zero-Detent knob; DECAY 50 to 2000 ms is the body of the hit. Each section has an ON switch with an LED in its title; off removes that part from the hit and greys the well — nothing rearranges.
THUD · Reso head
The fifth. 5th ↑ puts it above the batter — the classic two-head dyad, mid impact. 5th ↓ puts it below: the head sits under the sub and implies a fundamental beneath both. LEVEL is relative to THUMP, so the structure holds when you rebalance. DECAY 20 to 1000 ms — keep it shorter than THUMP and it stays a body resonance rather than a chord.
THWACK · Beater
High-passed noise as the attack. PINK is softer, weighted to the low mids; WHITE is flat — a brighter click. LEVEL −48 to 0 dB, DECAY 5 to 1000 ms — tens of milliseconds is beater, hundreds is snare wash — and HPF 500 Hz to 8 kHz sets where the noise starts so it stays out of the note’s way.
Footer
FREQ tunes the batter head, C0 to C5 with the Hz shown; TRACK follows the detected fundamental instead. DROP 0–24 st is the pitch envelope. SENS is level-relative trigger sensitivity. SOURCE — REPLACE or ADD; SOLO auditions the generated hit alone. OS LIVE and OS RENDER set oversampling for playback and bounce; GLOBAL applies it to every ZEROPINK plugin. PITCH 440 or 432 Hz retunes every note on the panel.
Three ways in.
TRACK on, SOURCE to REPLACE. THUMP DECAY to match the length of the real body on the IN scope; THUD 5th ↑ at −6, short. THWACK off — the original keeps its own beater. Raise MIX until the low end arrives without the mic ever having heard it.
TRACK off, FREQ to the note the song wants. DROP 7 st so the pitch settles like a real head. THUD 5th ↓ for a floor tom, 5th ↑ for a rack. SOURCE ADD, MIX 60 — the room stays, the note moves.
FREQ up in the C3–C5 register, THUMP DECAY 120 ms, THUD off. THWACK on with WHITE, DECAY 150 ms, HPF 3 kHz for wires and air. SOURCE ADD. SOLO while you tune, then bring MIX back to taste.
Thirty days, nothing held back.
Every install starts a 30-day full trial — the remaining time shows in the nameplate, no account needed. To buy: the checkout opens in your browser and your license key arrives by email.
To activate: paste the key into ACTIVATE. Once licensed the trial readout disappears and the wordmark opens your license details; unlicensed, it opens zeropink.net. The ! cap latches hover tooltips; the ? cap opens the manual.
Lost your licence? Retrieve it from My Account — enter the address you purchased with and it is sent again.