BKM FLUX drives your drums, buses and master chain into a brick-wall ceiling while adding the warmth and weight of a vintage tape machine. It was built to be pushed hard rather than used carefully.
Most digital clippers apply one fixed curve and refuse to let anything past it, which is mathematically correct but tends to sound flat once you push it. BKM FLUX models the way real analog circuits respond instead, and it does that without asking you to configure any of it.
It takes the peaks off, and that is the extent of what it does.
It takes the peaks off and gives you character in exchange.
Everything BKM FLUX does can be read off a single graph of what goes in against what comes out. Quiet material passes through untouched, and the harder you drive, the further up the curve the signal travels.
Quiet signals pass through flat and transparent. Below the knee the plugin is not doing anything to your audio.
As the material drives harder the line bends into a warm analog curve, rounding transient spikes off musically instead of shearing them square.
Pushed to the extreme the curve flattens into a brick wall, holding 808s and kicks against the ceiling without letting them clip digitally.
There are three controls and nothing hidden behind them. The analog modelling runs on its own in the background, so the panel only carries the parts worth adjusting.
Your input level, and what decides how far up the curve the signal travels. Push it to move out of the transparent zone and into saturation.
Sets the absolute peak, anywhere from 0.0 down to −3.0 dB. However hard you drive the input, nothing crosses it.
Morphs the shape of the curve itself. Lower settings give a wide, transparent soft knee; higher settings tighten it into a grittier tape character.
A small LED in the corner that lights as the signal reaches the ceiling, so you can see at a glance when the clipper is working.
Hover or tab through the markers
The character comes from a set of modelled circuit behaviours that run continuously while the plugin is on the track. None of it is exposed as a parameter, because none of it needs to be.
BKM FLUX models the small imperfections that give real hardware its character, and keeps them running the whole time. The audio path moves and breathes rather than sitting perfectly still, which is most of what separates it from a purely digital clipper.
Set the ceiling once and it is absolute. However hard you drive the input, nothing downstream will ever see an over, so you can hand off a master without checking it twice.
Everything complicated is automated underneath, which leaves three knobs on the face. You can set it up in about ten seconds and get back to the record.
Clamp the snare and kick transients and let the saturation stage rebuild the body underneath. The kit gets louder and rounder at the same time, which is something a limiter on its own will not do for you.
Across guitars, synths or a vocal stack, a little shared saturation does much of what a bus compressor is usually asked to do, without eating the dynamics you spent the session shaping.
Placed before your limiter, BKM FLUX shaves off the peaks the limiter would otherwise have to chew through. You end up several dB louder with less pumping and a top end that still breathes.
BKM FLUX is a single one-time purchase that includes every future update. There is no subscription and no higher tier to upgrade into later.
BKM FLUX is in the final stages of development. Leave your email and I will let you know the day it goes on sale.
USD · One-time purchase
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It can be either, and the Flux knob is how you decide. Turned down it behaves as a wide, transparent soft-knee mastering clipper. Turned up it tightens the knee into a more aggressive tape character that adds real perceived loudness and weight. Most of the useful settings sit somewhere between the two.
Drive controls how far up the curve your signal travels, and Flux controls what shape that curve is. Drive is how hard you are pushing, Flux is how the circuit responds when you do. It is usually easiest to set them in that order.
Nothing beyond the three knobs. The analog modelling runs automatically from the moment the plugin is on the track, and it is deliberately not exposed as a set of parameters — it is the character of the box rather than something to tune.
On drums and buses, place it after your EQ and compression so it is shaping the sound you have already committed to. On a master chain, put it before the limiter — BKM FLUX takes the peaks off so the limiter only has to handle the average level, which is where it sounds its best.
Neither. You download the installer, run it, and enter your product key once. After that the plugin works offline indefinitely, with nothing to sign into and no licence manager running in the background.
If it loads VST3 or AU then yes, which covers FL Studio, Ableton Live, Logic Pro, Reaper, Studio One, Cubase, Bitwig and Ardour, on both Windows and macOS.
Email within 14 days of buying and you will get a full refund, without needing to justify it.