Tour any classic analog recording studio and two pieces of outboard hardware tend to show up time after time: a Pultec-style equalizer and a tube-based, opto compressor, such as an LA2A or a CL 1B. Modern reproductions of these classic items can be purchased for tidy sums from companies like Tube-Tech, Warm Audio, and Universal Audio. However, for a lot less you can also purchase software plugins inspired by these that impart similar results.
One company that’s quite good at nailing vintage sounds as plugins is Kiive Audio. Their free Warmy EP1A equalizer is a Pultec-style plug-in inspired by hardware manufactured by Warm Audio. Rounding out this iconic toolkit, Kiive Audio just released the KC1 Tube Compressor, which is designed after Tube-Tech’s CL 1B.
Designing a proper hardware emulation involves more than just coming up with an attractive user interface. First, any given plugin will never sound identical to each and every version of the hardware, simply because no two hardware units will sound completely identical to each other. Second, some plugin types are easier to design than others. For example, no matter how sexy the UI appears, most stock DAW EQ plugins will yield the same results if you work at it. A plugin using a simpler analog-style interface might still sound the same, but be faster to use, making it a justified purchase.
Compression technology and the Tube-KC1
This brings us to compressors, which often have more variety in how they respond to the signal than other plugins, like EQs. Not only do you have different hardware circuitry for compressing sound, but there are interactions within the compressor that impact how it reacts. Therefore, any developer must try to model the electronic circuitry used inside of the original hardware.
Kiive modeled the Tube-KC1 based on hardware that uses a tube-based amplifier with op-amp semiconductors. Originally these were called leveling amplifiers. Without getting into the weeds technically, this means that the input gain affects the brightness of the internal optical circuitry, which in turn controls the compression of the signal, thus reducing the output. The result of using this design is that compression is described as smooth or silky, because it’s slower than other forms of compressor circuitry design. Recording engineers like to use this style of compression on vocals, but in truth it can be applied to instruments and the mix bus, as well.
As with the actual hardware, the KC1 features a streamlined interface for quick and easy operation. Adjust gain, compression ratio, and threshold for the basic compression. Attack and release times for the compression can be dialed in manually, stay fixed, or a combination (fixed attack, manual release adjustment). There are mid/side, mono, and stereo modes, along with side chain filtering. Increase the side chain frequency to prevent low-end bass from kicking in the compression. As you’d expect from Kiive Audio plugins, there are presets, additional input and output level controls, oversampling, and THD (total harmonic distortion) control for added saturation.
Using Tube-KC1
Similar to the hardware units, the gain and threshold ranges on the Tube-KC1 are quite large. So far I’ve used it on vocal and guitar tracks, along with the stereo mix bus. It’s easy to use and sounds great. Thanks to the design that it’s emulating, you can push something like a vocal quite a bit and get away with it. Yes, you get saturation and grit, but in a very pleasant way. In fact, it’s when you get aggressive with the settings that this style of compressor will truly shine. The simple interface is based on a compressor design that’s proven itself on countless hit records for many decades. You can quickly dial in the sound you want with little or no guesswork.
I work on music mixes in Logic Pro and audio as part of my video edits in Premiere Pro. If you are a video editor, then a tool like Tube-KC1 applies to your work, too. Premiere Pro does have a built-in tube-style compressor. It sounds OK, but not as good when pushed. Plus, you have minimal control.
If you want to achieve a better audio mix on video projects, then I would highly recommend adding a decent third-party compressor plugin to your toolkit. Tube-KC1 is certainly a good choice. If your video mixes largely consist of dialogue plus voice-over, sound effects, and a music bed, then place instances of the plugin onto both the voice track(s) and the mix bus. Push it a bit harder on the voice track(s). This will give you robust dialogue that cuts through. Use it more subtly on the mix bus and Tube-KC1 will “glue” the full mix together. Typically a 2:1 ratio or less should be all you need on the mix bus.
The Kiive Audio Tube-KC1 plugin supports macOS (Intel and M1) and Windows and comes in all the various plug-in formats, covering most DAWs and NLEs, including Avid systems. Best of all, Kiive Audio uses simple licensing/activation without the needs for an iLok or annoying license manager application. There’s a fully functioning trial period, so you can check it out before purchasing. If Tube-KC1 isn’t quite right for you, then check out Kiive’s various other compressor plugins, including the free XTMax.
In closing – does the Tube-KC1 sound like the hardware? Beats me. I have no way of truly testing that, because I have no access to vintage audio gear. But, does it sound good and make for enjoyable mixes? Yes, absolutely – and that’s the key point. As with some of the other Kiive plugins that I’ve reviewed, Tube-KC1 will become one of the standard plugins that I reach for on a wide range of projects.
©2024 Oliver Peters
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