AudioScape Collection
Collaboration, not emulation
Included Plugins:
MK-609 | Diode-Bridge Limiter/Compressor
Built with AudioScape Engineering from their updated take on a legendary 1969 diode-bridge console compressor, the MK-609 gives you both a compressor and a limiter in one plugin with dual independent channels.
The compressor section has 3 attack modes (including a super-fast setting AudioScape added to the modern hardware revision), 5 ratios, and a sidechain high-pass filter at 50Hz and 100Hz so you can keep low-end energy out of the detector when you're working on bass-heavy material or a full mix bus. It goes from transparent leveling to an aggressive, lively pump depending on how hard you push it.
The limiter sits after the compressor in the signal flow and handles the final stage of dynamics control. It's the kind of limiter that smooths drum transients, tightens bass guitar, and adds that last layer of polish to a vocal stack without making the source feel smaller.
Run it in stereo, dual mono, or mid/side. Link the channels for matched bus processing or unlink them for independent control over each side of the stereo field. Every Kiive plugin includes our top bar with input/output gain, oversampling, a mix knob for parallel blending, THD, and stereo width controls.
V-Comp | Vari-Mu Tube Compressor
The V-Comp is AudioScape's take on one of the most respected variable-mu compressors from the 1950s, originally designed for broadcast and eventually adopted by engineers and producers who recognized it as one of the most musical dynamics tools ever built. Seven tubes and an iron-core transformer give it the weight, density, and harmonic color that vari-mu compression is known for.
The gentle knee and program-dependent ratio mean the V-Comp doesn't fight the material. It shapes dynamics naturally, which is why it's become a go-to for vocals, bass guitar, vintage keys like Wurlitzer, and mix bus duties where you want the compression to feel effortless rather than aggressive.
Three gain-reduction modes (Single, Double, and Triple) progressively shorten the time constants for faster response. The plugin also has the bypass mode, which completely removes the compression section from the circuit while still running your audio through the all-tube signal path and transformers. It turns the V-Comp into a pure saturation box when you want the tone without the dynamics processing.
The plugin includes both the V-Comp and V-Comp+ Deluxe 6386 Edition, which adds a mix blend control and sidechain high-pass filter options for even more flexibility in a modern session.
XL-305R | Dual Spring Reverb
AudioScape's XL-305R traces back to the Micmix Master Room XL-305, a spring reverb released in 1979 that found its way into major studios and developed a cult following for its smooth decay and distinct sonic signature. AudioScape rebuilt the hardware under the direction of the original designer, Wayne Kirkwood, and we worked with them to bring it into plugin form.
What separates this from other spring reverbs is the 12-spring assembly. Each spring is precisely cut and tuned to mimic real room dimensions inside the tank, creating a reverb that behaves more like an analog echo chamber than a typical spring. The closest comparison is opening the lid of a grand piano, holding the damper pedal, and singing into the strings. You get a lush, complex decay that algorithmic and convolution reverbs don't replicate.
Each channel has its own input drive (push into it harder for more character), wet/dry mix control, and a 4-band EQ for shaping the tone of the reverb signal independently of the dry sound. Mono Drive links the stereo channels together for a tighter image, and Mono Return sums the reverb output to mono when you want the effect centered.
Grammy-winning engineer Ryan Hewitt (Red Hot Chili Peppers, Neil Young, Lady Gaga) called it the best spring reverb plugin he's heard.
Golden58 | Tube Preamp and Saturator
The hardware Golden58 was always going to be a short run. Chris Yetter and his team at AudioScape designed it around the 5879 tube (the US military equivalent of the EF86 found in classic British preamps) with four NOS transformers per unit, and those parts simply aren't available in volume. The plugin version means the tone of that original circuit is permanently accessible.
It's a two-channel tube preamp with 56 dB of gain, a polarity switch, and a voice switch for shaping the character of the saturation. At lower gain settings it adds a warm, round presence to sources like vocals, DI bass, and acoustic instruments. Push the gain and it opens up into a rich, harmonically dense saturation that works on everything from drums to a full mix bus.
The plugin adds two features the hardware doesn't have. Auto-Gain keeps your output level consistent as you drive the saturation harder, so you can focus on the tonal change without compensating for volume jumps. Output Trims give you finer control over how the saturation circuit responds, letting you dial in exactly how much of the tube character you want in the final signal.
AudioScape designed the original circuit as what they consider the American answer to the classic British preamp designs of the same era. The plugin captures that philosophy and makes it available to anyone working in the box.
Frequently asked questions
AudioScape Collection
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