VKFX Manual

Table Of Contents
01 INTRODUCTION 6
02 THE CONCEPT 8
03 INSTALLATION 11
04 REGISTRATION 12
04.01 HOW TO REGISTER 12
05 QUICK START 13
05.01 SYNC OPTIONS 13

HOST 13
INTERNAL 14
OFF 14
05.02 PRESET MANAGEMENT 14
06 GENERAL OPERATION 15
06.01 THE MODE SWITCH 16
07 THE MASTER SECTION 17
07.01 MORPH 17
07.02 SYNC 18
07.03 VU INPUT/OUTPUT SWITCH 20
07.04 L/R LINK SWITCH 20
07.05 VOLUME KNOBS 20
07.06 METERING 21
07.07 PRESET 22
07.08 SAVE 22
07.09 LOAD 24
07.10 UNDO 25
07.11 REDO 25
07.12 INFO 26
07.13 HELP 26
07.14 PREFS 26
08 PREAMP/STEREO TREMOLO 27
08.01 PREAMP SECTION - CONTROLS 27

VOLUME 27
EQ 27
BASS 27
TREBLE 28
SYNC 28
08.02 TREMOLO SECTION - CONTROLS 29
AMP/PAN SWITCH 29
RATE 29
LFO PHASE OFFSET 30
09 COMPRESSOR 32
09.01 CONTROLS 33
THRESHOLD 33
ATTACK 33
RELEASE 34
MAKEUP 34
10 WAH 36
10.01 CONTROLS 37
SYNC 37
MODE 37
LOWPASS 37
BANDPASS 37
HIGHPASS 37
POSITION 37
RANGE 38
RELEASE 38
POLARITY 38
LFO 39
RATE 39
LFO PHASE OFFSET 39
DEPTH 40
11 PHASER 41
11.01 CONTROLS 41
SYNC 41
MODE 41
CENTER 41
FEEDBACK 42
RATE 42
LFO PHASE OFFSET 42
DEPTH 42
MIX 42
12 CHORUS 43
12.01 CONTROLS 43
MODE 43
CENTER 44
DEPTH 44
RATE 44
FEEDBACK 44
MIX 44
13 OVERDRIVE 46
13.01 CONTROLS 46
DRIVE 46
TONE 46
LEVEL 46
14 DELAY 47
14.01 CONTROLS 48
MODE 48
SYNC 49
TIME 49
FEEDBACK 50
TONE 50
MIX 50
15 AMP 51
15.01 AMP/EQ SECTION - CONTROLS 51

OUT/IN 51
LOW, MID AND HIGH 51
VOLUME 52
15.02 REVERB SECTION - CONTROLS 52
TIME 52
MIX 52
16 MIDI AND THE VKFX 53

16.01 DEFAULT ROUTING OF MIDI CONTINUOUS CONTROLLERS TO PARAMETERS
54
17 PRODUCTION CREDITS & THANK YOU TO 55
18 FREQUENTLY ASKED QUESTIONS 57
19 END-USER LICENSE AGREEMENT 59
20 COPYRIGHT DISCLAIMER 61
01 Introduction
There have been a lot of formidable partnerships in the history of
electric and electronic keyboards. Some of the most enduring of these
have been not between musicians, but between the keyboards they
played and the effects devices through which these keyboards were
processed. Occasionally, through either brilliant insight or sheer
stroke of luck, an instrument with a wonderful voice could be made to
really sing if it was married to the perfect effects unit – an effect
which somehow seemed to have been created with that one
instrument in mind. Can you imagine the world’s most popular electric
piano without its Stereo Preamp or the vintage String Ensemble
keyboards without their Ensemble switch?
An old adage suggests that sometimes ‘the whole is greater than the
sum of its parts’, and there’s no better proof of this idea than to listen
to the result of these partnerships, which have turned good
instruments and interesting effects units into ‘unbeatable classics’,
and dusty old gear into ‘vintage must-haves’.
But doesn’t Scarbee make sampled instruments exclusively?

During the development of his range of award winning vintage electric
keyboard recreations, Thomas Hansen Skarbye quickly realised that
to recreate the total sound of these instruments as we remember
them, he needed to take his sampling projects a major step further,
and reproduce the popular effects pedals and processors through
which people were accustomed to hearing classic keyboards.
As fate would have it, in the fall of 2002 Thomas met Italian software
engineers Alfonso De Prisco and Thomas Serafini through an internet
newsgroup. Noting their common interests, they began to discuss the
possibility of creating a suite of vintage processors which were custom
designed to complement the Scarbee Vintage Keyboard Collection.
Not long after this, a core alpha-testing group consisting of the three
designers, plus Rick Chadwick, Lars Terkelsen and Jules Bromley was
created and the overall concept of the plugin was determined. It was
a good omen to find that even the very first raw modules designed by
Thomas and Alfonso had that warm vintage tone the group was
looking for!
Initially, the VKFX graphics were created in collaboration with Italian

artist Francesca Maletti, but the appearance of new beta-tester Stefan
Kengen on the scene caused a dramatic change in their direction! One
Saturday morning in 2003 Stef uploaded his ‘rough sketch’ of an
alternate idea for the graphics, and Thomas Hansen Skarbye was
completely sold! After much deliberation, Stef was finally nominated
as the new graphic artist on the VKFX project – though it was sad to
have to say goodbye to Francesca, as she had been a great help for
us in the difficult beginning.
It was during this phase of development that Didier Martini and Larry
Thompson joined the group, allowing us to start actual beta-testing.
Soon after, Frederik ‘Figge’ von Wachenfeldt, Simone ‘SID’ Coen and
Dirk Frickenscmidt joined us to complete the final beta-testing group
for VKFX.
From the VKFX’s conception we wanted to create something wild and
innovative, and with a research group populated entirely by
enthusiastic musicians, it’s not surprising that a wealth of exciting
ideas was forthcoming. As we incorporated many of these gems into
the final design, and Alfonso coded the design of the modules from
scratch, the expansion of the plugin’s design parameters has meant a
considerable extension of the VKFX’s development time.
But, as they say, anything good is worth waiting for – and we think
the VKFX has been well worth the wait.
02 The Concept
With the VKFX plugin, Scarbee has adopted a multi-module approach
which provides virtual studio users with an extremely ergonomic ‘one-
stop shop’ in which to try, apply, recombine and mutilate a wide
range of different types of sound processing with both their classic,
and not so classic instruments. Those effects include electric piano
preamp, stereo tremolo, optical style compression, envelope
follower/filter, phase shifter, chorus, string machine ensemble,
delays, overdrive, tube amp and spring (boing!) reverb.
Using the same uncompromising approach that was taken with

Scarbee’s range of vintage keyboard libraries, each of the eight
effects modules in the VKFX has been painstakingly crafted using the
inspiration of devices which history has proven to be leaders in their
class. The engineering behind this expensive looking rack interface is
without peer, combining a wealth of experience in DSP coding for
audio, virtual instrument environments and electronic musical
instruments development.
Why combine all these fx in a ‘single screen multi module virtual

rack’?
The multi module approach has several advantages over other

methods:
1. Loading just a single plugin gives you immediate access to one or

all of the VKFX effects processors. This ergonomic approach means
you’ll be spending more time working on your sounds and music, and
less on the configuration of your virtual studio effects chains.
2. Because each effect is generated by a unique module, any unused

effect can be powered down to minimise cpu load, but still be
available at the touch of a switch, should you decide to add a little
more juice to your sound.
3. Recalling a complex sound effects setup which was the result of a
combination of up to eight different interactive effects involves
loading just one preset. That’s all – one.
4. Most importantly, not only are all the different processors available
in a single plugin insert, but each device and all of its settings remain
visible on screen at the same time. While you’re working on your
chorus settings you can adjust the preamp eq. Once you tweak the
preamp eq. a sideways glance is all it takes to confirm that you need
to move over to the overdrive tone – all without leaving the
current screen! This approach has tremendous implications for
those of us who like to experiment. A single screen interface makes
for a lot quicker movement back and forth in the fx chain. It’s simply
a more player-oriented approach – one which puts the fun and
creativity back into tweaking your sounds. (remember when tweaking
fx was fun?)
5. This single screen setup has allowed us to include a very funky tool
which lets you design two complete sets of effects and morph from
one to the other in real time, or under automation. Trying to do this
kind of thing with a set of discrete inserts would probably lead to grey
matter meltdown. With the VKFX single screen rack it’s so easy it’s
kind of addictive!
6. The single screen set up makes rearranging the order of your fx

chain child’s play. Imagine that you decide that you’d like the
overdrive before the chorus instead of after – just drag it into place
and you’re done! Try that with 8 inserts ;)
But wait! There’s more!….
We’ve supplemented the multi module rack with a master section that
has some cool extras, including:
VUs and led meters that can be switched to monitor either input or
output levels, helping keep an eye on elements like the compressor’s
makeup gain.
Linkable Master Level controls, allow you to set a stereo balance and
then adjust overall rack output by altering a single control.
Undo and redo options allow you to move backwards and forwards
through your edit history with ease.
Sophisticated file management options allow you to save or load

individual module presets, groups of modules, or a whole rack setup.
Both context sensitive help and an online manual are available

directly from the VKFX front panel.
The VKFX can sync to the host application’s clock, it’s own internal
master clock, or each module can run independently. Stomp boxes of
the 70s and 80s simply weren’t designed to run with synced lfos The
VKFX’s independent clock mode gives you the option to recapture a
little of that same sonic anarchy.
03 Installation
To install the Scarbee Vintage Effects VST plugin, locate the file called
VKFX setup.exe. Double clicking on the file name will initiate the
automated install program. Please read the license and faq
information before agreeing to installation. The setup program will
guide you through a relatively simple install process, at the end of
which you will be ready to load your preferred VST host and take
VKFX for its first spin.
As a VST compliant plugin, Scarbee VKFX runs in any VST compliant

host, however even with the best of intentions on the part of the
developers involved, it is possible for a VST host to be incompatible
with a VST plugin. If you should find this to be the case, please
contact either your host’s support team or Scarbee support at
support@scarbee.com
04 Registration
When initially installed, Scarbee VKFX will run in unregistered mode
without authorization. It will sound bypassed (no effects).
After you registered with the serial number you received with the plugin,
it will work fully functional.
As musicians ourselves, we know that many contemporary music
systems need to ‘distribute’ the production workload over multiple CPUs,
and as a result, often consist of more than one PC.
With this in mind, Scarbee has decided that the VKFX license shall allow
the user to install and run the software on up to three systems
simultaneously. Yes, you can authorise VKFX on three of your PCs from
a single purchase. Of course, the user of these PCs must always be the
owner of the VKFX license.
04.01 How To Register
Load Vintage Keyboard FX and then push the "Prefs" button. A dialog
box will appear prompting you to type in the Serial Number. After you
typed in the code and confirmed pushing the “OK” button, the plugin
will be registered and ready to use.
05 Quick Start
Short attention span? Itching to get into some new sounds? Don’t
care how long it took us to write the manual? Then this Quickstart
guide is for you! You’ll get far more useful detail from reading the full
manual, but the VKFX is designed to be a fairly intuitive piece of gear,
so a little quick start should go a long way.
VKFX is designed to work as a standard FX plugin, so after

installation, it should appear in your particular VST host’s list of
plugins just like any other FX plugin. You’ll be inserting it across
either a standard audio track, a group track, or the audio channel of a
VST instrument.
Once inserted, the VKFX front panel should appear on screen, with all
modules powered down. Use the red power switches to activate
individual modules. When a module is switched off, CPU load is
reduced.
Before going further, take a look at the master section (at the bottom
of the VKFX interface). This is command central, and has facilities for
altering output level, balancing stereo image, checking input levels,
overall tempo sync settings, preset morphing, preset management,
setting preferences, accessing help files, and other useful information.
Overall output and stereo balance are controlled by the volume knobs
in the master section.
If you plan on doing any tempo synchronised work, note the condition
of the sync component of the master section.
05.01 Sync Options
Host
When syncing, VKFX modules reference the host application’s clock,
and tracks any tempo changes.
Internal
When syncing, VKFX modules reference the tempo set using the knob
to the right of the sync button in the master section.
Off
Each module runs independently, just like in the good ol' days. If the
module syncing is switched on, the LFO will run at 120bpm.
05.02 Preset Management
Preset management in the VKFX is a little more extensive than in

your average VST plugin. If you can possibly manage the time, please
take a look at that section of the manual before you start saving the
results of your creative hours.
The first preset in the factory preset list is called ‘reset’. As the name
implies, this preset sets all values to a factory default position.
Knobs can be individually set to factory default positions by holding

the Ctrl key on the keyboard at the same time as clicking on the knob
in quetsion.
That’s it for the quick start. For the real meat and potatoes, read on….
06 General Operation
To sync, or not to sync…
Matching the speed of your effects to the tempo of your music was
not something which was generally possible ‘back in the old days’, but
it is something we wanted to include because tempo sync can be a
very powerful musical tool. You can choose either the 'new millenium
lock step', or the 'vintage freerun' – it's your choice.
In the VKFX, any module with cyclical or timed effects includes a set
of controls which allow you to choose whether its clock runs freely,
synchronized (synced) to the tempo set in the master section, or
synced to the tempo you have set in your host application.
On syncable modules, the window below the word ‘sync’ displays the
current sync status. The square led sync button to the left of the sync
readout window determines whether the module is in sync mode of
not. If the switch and window are unlit, the module is in ‘freerun’
mode, and all rates on the module reference its individual clock. If the
switch is lit, the sync readout window will contain text related to
musical divisions of the clock tempo, and the module will be
referencing either the internal master section clock, or the external
clock of the host application. This choice is made using the sync
parameters in the master control section.
When a module is set to sync, the led switch to the right of the sync
window is also active and by clicking on it you can drop down a list
which represents musical divisions of the clock tempo, indicating
either the length of time it will take for an LFO based effect to
complete a single cycle, or (in the case of the delay module) the
length of time between repeats.
When a module is set to sync, the rate control for the LFO no longer
sets the freerun tempo. In the case of the Preamp, Wah, and Phaser,
the rate knob now alters the phase position of the LFO waveform.
Although this may sound like an esoteric function, when using LFO
waveforms to create rhythmic effects, we feel the ability to determine
the musical position of those waveforms is critical to the groove.
Sync values can range from as quick and small as a 32nd triplet to as
slow and large as four bars, ie one cycle or repeat every four bars.
Standard sync values are represented with a fraction sign –

1/4 equals a crotchet = 4 times in every bar, 1/8 = a quaver = 8 in
every bar etc.,
Triplet values display an additional trailing small letter ‘t’ –

1/4 t = a crotchet triplet = 6 in every bar, 1/8 t = a quaver triplet =
12 in every bar etc.,
Dotted values display an additional trailing small letter ‘d’ –

1/4 d = a dotted crotchet = a value of three quavers = 3 x 1/8th
notes. 1/8 d = a dotted quaver = a value of three semiquavers = 3 x
1/16th notes etc.,
06.01 The Mode Switch
Several modules sport a ‘mode’ switch. The function of the mode

switch varies depending on which module you’re using, but generally
it makes significant changes to the architecture of the underlying
algorithm of that section of the plugin.
You can select modes either by clicking on the relevant mode led
directly, or by using the mode button to step through the modes
sequentially.
07 The Master Section
The Master Section is VKFX command central - where you can set
global options for level and synchronisation, morph between
programs, undo and redo program edits, and manage your preset
library. It also gives you direct access to the user manual, context
sensitive help and background information on the development of the
VKFX rack.
07.01 Morph
Although deceptively easy to use, preset morphing is an extremely

powerful (and addictive!) feature. Using the morph fader you can
gradually transmute one preset into another. When you have the rack
set up the way you like it, click either the A or B button and the VKFX
will commit all settings to that memory location. Now set the rack up
again and click on the other button to commit the new settings to the
second memory location. You now have two full presets in memory.
To use either preset you simply move the morph fader all the way to
the A or B position. However, things become far more interesting
when you try sliding the fader slowly between A and B while watching
the knobs gradually rotate from one preset’s location to the other and
back again. You can also load a preset, assign it to one button, and
then load a completely new preset and assign it to the other, which
makes morph setup between complex programs a breeze.
The implications of this feature for real time manipulation are

probably obvious by now. You can use morph to quickly create
coordinated changes across several effects parameters
simultaneously. VST integration means that all these changes can be
written to automation from a single fader in a single pass.
Something to keep in mind: Morphing works best when

transformations involve manipulating continuous controllers - like
rate, depth, time etc. The changes are smooth and can be as quick or
slow as you want to make them. Morphing can also be performed
using VKFX functions which only have two states (eg on/off), or
where modes jump from one state to another, or even with the
module chain being reordered. In these cases, if you are passing a
continuous signal through the VKFX while morphing, you’re very likely
to hear switching taking place as modules are powered on/off,
removed from the chain, or audio is cut off as signals are rerouted.
07.02 Sync
The master sync switch cycles between three sync modes, allowing
you to choose whether the modules’ time based effects are
synchronised to the host tempo, the VKFX internal tempo setting, or
allowed to freerun independently. You can also select a sync mode by
clicking directly on the relevant mode’s led. If you can’t set precise
value with mouse you can always left-click on the display and set the
value in the pop-up window.
The master sync readout displays the VKFX internal tempo, accurate
to two decimal places. Use the knob to the right of the readout to
make tempo adjustments ranging from 0-512bpm, accurate to
1/100th of a beat.
Try this:
Set the Preamp section as it is in the example. Set your Host tempo
to 180 bpm and then set the Internal tempo of VKFX to 60bpm. Now
hold a sustained chord on your input instrument as you switch
between the three mode switch settings, and you’ll hear the tempo of
your tremolo change as the module locks with each new clock source.
07.03 VU Input/Output Switch
This switch allows you to switch between monitoring your levels at

either the input or the output of the rack.
07.04 L/R Link Switch
When set to ‘In’ the L/R Link switch links both left and right volume
controls so that moving one moves the other, allowing you to
maintain stereo balance while making overall level changes. When set
to ‘Out’, volume controls remain independent.
07.05 Volume Knobs
The volume knobs set the left and right channel output levels of the
VKFX.
The range of the volume controls is from -inf to +15dB
07.06 Metering
In combination with the VU Input/Output Switch , you can use either

the LED or VU meters to monitor input and output levels.
A brief note on gain structure:
When using the form of 32 bit floating point calculation that is

employed in the VKFX modelling, it is a practical impossibility to
overload the signal within the plugin. Only when the signal exits the
VKFX and returns to the host environment will you need to monitor
for the type of ‘overs’ which result in a clipped signal. However, to
help you obtain a broad (and we do mean broad!) view of gain
structure within the module chain, we have included a ‘peak’ led on
each module. This led lights if either the left or right channel of the
module’s input signal exceeds -3dB. Please remember that (a) a lit
led doesn’t indicate clipping, simply that the module’s input is
approaching 0dB and (b) if you do exceed 0dB at the input to a
module, you cannot cause distortion within the VKFX.
07.07 Preset
Clicking on the Preset button displays the list of factory presets.

Factory presets use prefixes to help in grouping FX types together. Of
course, these are only a suggestion as to how the presets could be
used. You’ll probably find other uses for them. The first preset in the
list is a ‘reset’ preset which initialises the VKFX to its factory settings.
AG Acoustic Guitar
BS Bass
CL 70s Funky ‘Electric Hapsichord’
CP 70s Electric Grand
DR Drums
EG Electric Guitar FX Special Effects PF Piano
OR Organ
RD 70s ‘Tine Piano’
SY Synth VX Vocals
WL 70s ‘Reed Piano’
07.08 Save
Saving a preset in the VKFX is generally as quick as two clicks, type

a name, click OK – and your done. However, in order to really take
advantage of our multi module approach, the VKFX has a couple of
file management wrinkles you may not find elsewhere.
As the VKFX is essentially several independent effects processors
marshalled under a unified interface, we were presented with several
opportunities in this area of preset management.
The VKFX interface allows you to save or load either a whole rack, a
limited number of modules, or a single module. It also allows you to
save the module position within the rack. Modules can be saved or
loaded in either powered or bypassed states. It even lets you decide
whether or not to load the Master Section
settings.
The Save button in the Master Section calls up

the ‘Save Preset’ dialog, which is divided into
two frames: ‘Whole Preset’ – which saves the
complete rack, or ‘Individual Modules’ – which
saves only the module/s you specify using the
checklist. This feature allows you to ‘mix and
match’ your favourite settings between different
racks with ease.
Checking ‘Module Positions’ in the ‘Whole Preset’ section will cause

modules to be saved with their current rack location. If left
unchecked, the modules will be saved without rack positions. Why
save module positions? Imagine you’ve designed a killer overdrive
sound which is the result of chaining three modules in a particular
order and balance. You can save both their settings and the order in
which they are chained. Without saving positions, you may find
yourself needing to move a bunch of modules around once you load
them.
Checking ‘Master Section’ in ‘Whole Preset’ will cause the settings in

the Master Section of the VKFX to be saved along with the modules in
the preset.
Use the ‘save’ button to the right of these two options to save your
preset.
The ‘Individual Modules’ section of the ‘Save Preset’ dialog allows you
to be more particular about what you save. Save all, some, or just
one of the modules which have been created, and load it/them later
without disturbing modules which weren’t included in the save.
Although individual modules can always be loaded from within a
saved ‘Whole Preset’, individual module saves rely less on your
memory at load time.
When you first enter the save preset dialog area, modules which have
been bypassed in the rack will be unchecked, this way you don’t have
to remember which modules were in use when you decide to make a
selective save. The ‘All’ and ‘None’ buttons are shortcuts for quickly
selecting or deselecting all modules.
Check the module(s) you want to save, and click on the lower
section’s ‘save’ switch to save them. Keep in mind that a module
doesn’t have to be powered to save it. This, for example, allows you
to save a whole rack preset with ‘optional’ modules initially disabled
but always ready to be turned on.
Checking the ‘Master Section’ of the ‘Individual Modules’ frame will

cause the master section settings of the VKFX to be saved with the
module/s.
07.09 Load
The Load button calls up the standard Windows

Explorer file browser dialog, allowing you to
navigate to the folder where you keep your VKFX
patches. Selecting a patch brings up the ‘Load
Preset’ dialog, which is divided into two frames:
‘Whole Preset’ – which loads the complete rack,
or ‘Individual Modules’ – which loads only the
module/s you specify using the checklist. This
feature allows you to ‘mix and match’ your
favourite settings with ease.
Checking ‘Module Positions’ in the ‘Whole Preset’ section will cause
modules to be loaded into the same rack location they had when the
preset was first saved. If left unchecked, the modules will be loaded
into the current rack position for the same module type.
Checking ‘Master Section’ in ‘Whole Preset’ will cause the master

section of the saved preset to be loaded and replace the current
rack’s master section settings.
Use the ‘load’ button to the right of these two options to load your
preset.
The lower half of the ‘Load Preset’ dialog allows you to be more
particular about what you restore. Load all, some, or just one of the
modules which have been previously saved in a preset. The ‘All’ and
‘None’ buttons are a convenient shortcut to either selecting or
deselecting all modules.
Checking the ‘Master Section’ of ‘Individual Modules’ will cause the

Master Section of the saved preset to be loaded and replace the
current rack’s Master Section settings.
Check the box(es) for the module(s) you want to load, and click on
the lower section’s ‘load’ switch to load them.
07.10 Undo
Clicking on the Undo button will undo the last change you made to
the VKFX. The number of undos is virtually unlimited.
07.11 Redo
Clicking on the Redo button ‘undoes’ the last undo you did - dig dat?
Again, the number of redos is virtually unlimited. The combination of
unlimited undo and redo allows you to casually ‘browse’ back and
forward through all the changes you’ve made, comparing sounds and
saving what you like at any point in this process, without fear of
losing critical edits.
07.12 Info
Clicking on the Info button displays the VKFX’ version number, as well
as background information on the team behind the VKFX
development. A second click will return you to the main interface.
07.13 Help
Clicking on the Help button toggles two functions:
1. A shortcut to the online manual for the VKFX. Clicking on the grey
button next to the word ‘Manual’ will load this manual for easy
reference.
2. A context sensitive ‘tool tips’ display which offers a brief (usually
one line) description of each function on the VKFX panel. Hover your
mouse over a switch, knob or readout to see specific information
about that function.
07.14 Prefs
The Preferences button is currently used to access and input

registration details. Please see the Registration section for more
information.
08 Preamp/Stereo Tremolo
This module is inspired by the classic preamp section of a 70s tine-

based electric piano and its unique style of stereo panning tremolo, as
well as the ‘vibrato’ circuit found on a well known 70s reed-based
electric piano and the custom ‘hotrod’ preamp EQ developed and
popularised in the 80s. The preamp module is particularly well suited
to tine pianos, as several of the Scarbee C.E.P. patches uses samples
which were recorded directly from the harp, bypassing the preamp’s
EQ and inherent noise. If the EQ found on vintage and ‘hot-rodded’
tine pianos is a part of your sound, you should be very pleased with
the VKFX preamp.
08.01 Preamp section - controls
Volume
A passive control which takes the input signal from 0 to –40dB.
EQ
The VKFX preamp's EQ model is designed to help capture both the
classic factory tine based electric piano timbre and the ultra dynamic
sound of a particular type of ‘hot-rodded’ electric piano which was
popular in the 80s. Hot-rodded tine pianos were re-engineered from
the ground up, and were most distinguishable by their exaggerated
bass, tine bell frequencies and ‘bark’.
Bass
On the original tine based electric pianos, this knob was mislabeled
‘Boost’. As the preamp circuitry in these early preamps was passive,
the bass knob could only remove bass, not boost it. The VKFX
achieves a similar effect, affecting a frequency range from 400Hz to
5kHz, with the amount of cut varying from -0.4dB to -15.5dB
depending on frequency. When the bass knob is set hard right (fully
clockwise) there is no bass cut.
Treble
There is an audible difference between the classic factory tine based
electric piano sound when recorded from the preamp output, and the
same sound when recorded direct from the piano’s harp (bypassing
the preamp). The preamps on early tine based electric pianos had no
treble knob, but the simple act of passing the output of the piano’s
harp through the preamp’s passive circuitry had the effect of
dampening the top end. The VKFX preamp’s treble knob actually does
double duty in this instance. When cutting, it acts much like a 1 pole
lowpass filter, affecting frequencies ranging from 1.2KHz to 20KHz.
When boosting as a shelving filter, it adds up to 24dB in the 10KHz
area. With the treble knob at 12 o’clock you have a largely unaffected
signal. Turn it anticlockwise and you’ll get a warmer more ‘old school’
tone – like the one from the preamp output. Turn the knob clockwise
from 12 o’clock for a tone with much more dynamic tine sound and
‘bite’ – like a hot-rodded electric piano.
Sync
Please refer to the Sync section for more information.
08.02 Tremolo section - controls
Tremolo is a cyclic change in volume, ie amplitude modulation. The

VKFX tremolo pays homage to both the stereo tremolo of the classic
tine based electric pianos and the signature ‘vibrato’ tremolo found on
vintage reed based electric pianos – with the addition of a few
wrinkles to spice things up.
Choose between a classic square wave tremolo for which the tine-
based electric piano is well known, and the triangle waveform
characteristic of the reed based electric piano.
Amp/Pan switch
Choose between stereo panning style tremolo of the tine based
electric piano, which bounces back and forth sharply across the stereo
image, and the more traditional mono amplitude style tremolo which
chacterised reed based electric pianos. Yes, they named it ‘vibrato’ on
these pianos, but as there was no pitch fluctuation on the piano its
vibrato was in fact tremolo. Just as the ‘tremolo’ arm on most guitars
is, strictly speaking, a vibrato arm…
Rate
Here you can set either the freerun speed of your tremolo, or (in
conjunction with the left-hand sync section) the tempo division as it
relates to the Master clock/Host clock. In Freerun, tremolo rate is
variable from 0.3Hz to 22.2Hz.
LFO Phase Offset
When the Stereo Tremolo LFO is set to sync to an external clock, the
rate knob takes on a different functions (as it is no longer required for
LFO speed). In sync mode the rate knob alters the phase of the LFO
in relation to the incoming clock. Basically, this allows you to match
your LFO cycle to the beat. With this control, not only can you put
your LFO effects perfectly in sync with the host’s tempo, but you can
also adjust the actual position of your LFO waveform so that it’s in the
rhythmic ‘sweet spot’ that you prefer.
The illustration shows a square wave tremolo effect which is set to

pan in stereo, synced to the host at quarter notes, so that there are
four complete panning cycles per bar. In one instance, with the
rate/phase knob set at 5 O’clock, the waveform is offset to the point
that the signal jumps to the left channel exactly on each quarter note.
In the second instance the rate/phase knob has been turned back to
11 O’clock, and now the signal appears at the right channel on every
quarter note. Of course, it’s possible to set the knob at many other
positions.
Below is an example of a patch which simulates the bright tines of a
hot-rodded vintage electric piano combined with the hypnotic stereo
panning tremolo for which that piano was so well known.
If your thing is the reed piano’s ‘vibrato’ sound, try your favourite Scarbee
E.E.P. samples through this patch:
© 2006 SCARBEE. Vintage Keyboard FX is a trademark of SCARBEE. All rights reserved.

31
09 Compressor
A compressor alters the dynamic range of an audio signal. For example,

you might feed it a signal which has a dynamic range of 120dB, and after
processing find that its dynamic range has dropped to 60dB. Basically,
what happens is that below the ‘threshold’ setting of the compressor,
changes in the level at the input are simply passed unaffected to the
output. However, above the threshold, changes in the level at the input
will produce smaller changes in the level at the output. How much smaller
depends on the type of compressor and its settings.
Why reduce your dynamic range? The usual (and perhaps most
controversial) reason for using compression in broadcast audio is the
attempt to raise the average level of the signal, helping to make it stand
out from background noise, or make it stand out from other (softer) tracks
broadcast around the same time.
In an effects chain such as the VKFX, compression can have other, more
musical applications, such as evening out the dynamics of a part, or
adding more punch to an instrument’s attack.
The VKFX compressor is modelled on early optical style compressors,

rather than the VCA compressor/limiter style used in a lot of more recent
designs. VCA compression is constantly linear – the more input you feed
it, the more the transients get squashed. Compressors based on optical
circuits are non linear. They compress predictably at lower levels, but at
higher and higher input levels, they start to allow the transients through.
The bottom line is that optical style compressors tend to sound more
‘lively’ and less muddy than VCA based compressors. It’s not uncommon
to hear people refer to optical compressors as the ‘more musical’ choice.
The VKFX compressor uses a ‘soft knee’ approach, rather than ‘hard knee’.
These terms refer to how quickly the compressor transitions from no
compression to its set value once the threshold has been breached. A hard
knee compressor instantaneously switches from no compression prior to

32
the threshold, to full compression once the signal passes the threshold.
This can make the use of compression very obvious. The solution is soft
knee compression, where the compressor actually moves into a lower ratio
of compression as the input signal approaches the threshold, and
increases the compression ratio as the signal level increases, until the
maximum compression is reached. This gradual increase in compression
ratio makes the use of compression more transparent. The term ‘knee’
refers to the shape of the curve you get on a graph when you plot changes
in the compression ratio as the input level is raised.
So, to be clear, the VKFX’s compression curve ranges from 1:1 to inf:1
according to the input level, the higher the input level, the higher the
compression you can obtain.
09.01 Controls
There are five elements to the VKFX Compressor module:
Threshold
With a range of 0 to –30dB, this control basically determines the minimum
input level at which your compressor starts to kick in and introduce gain
reduction. When set fully clockwise (about 4-5 o’clock on the dial), the
threshold is at its highest setting, allowing most signals through
unaffected and only compressing the highest input signals. As you turn the
threshold knob anti-clockwise, the compressor will ‘grab’ proportionately
lower level signals until - at its minimum setting – it will attempt to
compress most input signals.
Attack
Ranging from 5ms to 200ms, this control determines how quickly the
compression will be applied once the input signal exceeds the threshold
level. It’s a critical control, as the attack portion of any sound conveys a
lot of information about the brightness of that sound to the listener. If you
apply a fast attack to percussive sounds, which means you’re squashing
the level of the signal as soon as the sound hits, it may seem as if the
compressor is dulling the sound off. In cases like this, slowing the attack
time a little can bring back that perceived brightness by allowing a bit of
the transient through before the compression grabs. Also, if you compress
a percussive sound with a fast attack, sometimes it will seem like you
actually have less attack on the sound. Your meaty ‘thwack’ at the
beginning of the sound has turned into a girly ‘ick’. If you ‘open up’ the

33
attack time a little, so that the compressor isn’t reducing the level of the
attack portion of the sound, you’ll get your ‘thwack’ back. Not only that,
but as the compressor is clamping down on the material after your
thwack, it will seem proportionately louder, making it poke through the
mix a bit. Be warned though, if you take your attack time too high, you
may end up with an attack so slow your compressor can’t do its job. The
attack time ranges from 5 ms to 200 ms.
Release
Ranging from 40ms to 4 seconds, this control sets how quickly the signal
will return to its uncompressed level once the input level drops below the
threshold setting. Usually, engineers like to set the compressor’s release
so that the compressor gets out of the way of the music as quickly as
possible, but again – take care. Fast release times can do unpleasant
things to sounds like sustained bass notes. Of course, release times which
are too long can mean that the compressor stays clamped down on those
same sounds when you least want it. Heavy compression, with fast attack
and release times, is usually responsible for the compression artefact
known as ‘pumping’. Compression with a long release that causes a
noticeable rise of the noise floor as the music returns to its normal level is
called ‘breathing’. Both pumping and breathing are best heard in the gym.
The release times range from 40 ms to 4 sec. It’s worth taking care in the
fine tuning of your attack and release times.
Makeup
Because this style of compression reduces dynamic range by making the
loud portions of the signal softer, the makeup knob allows you to adjust
the post-compression output level so that your average level is
maintained. Watch the VUs while switching the module on and off to check
that you are making up gain lost through compression. The makeup gain
ranges from 0dB to 24 dB.
The led meter supplies visual feedback as to how much compression is

being applied to the input signal. More leds = more compression.
When processing an instrument whose attack you’d like to enhance (eg a

CEP playing a comping rhythm part), try setting your VKFX compressor as
we have in the illustration at the beginning of this section. Now try turning
the threshold knob further to the left as you play. You should notice
progressively more of a ‘pop’ on the attack of the piano. What’s happening
here is that the threshold on the compressor has been

34
lowered to the point that almost the whole piano note is being reduced in
gain. A certain amount of the beginning of the note - determined by the
attack time - is being allowed through the compressor unaffected. We’re
effectively reshaping the envelope of the sound by making the body softer,
which makes the attack relatively louder and more pronounced. If the
body of the sound starts to seem too soft, adjust the amount of makeup
gain. If your attack now seems to loud, move between the attack knob
and threshold until you feel you have a balanced sound.

35
10 Wah
Remember the funky stuff from the 70s? If you do, then you’ll remember
one sound which is at the heart of this VKFX module. It’s been given
different names, like Envelope Filter, Auto Filter, Wah Filter, Triggered
Filter, Envelope Follower, Auto Wah, Touch Wah, Dynamic Filter, Dynamic
Wah, and just plain Funky Filter. Whatever the title, it’s the sound that
counts – and that ‘whicka whacka’ sound just jumps out of a mix, whether
it’s on guitar, bass or clavinet. The classic auto wah pedal responds to
variations in the input signal level and uses those level changes to move
the cutoff frequency of a resonant filter. Play softly, and the filter just
mumbles away, play more sharply and the filter quickly sweeps open and
closed, creating the classic ‘wah’ sound. In the 70s, keyboard players
found the auto wah a boon, as it really bought some instruments to life,
helping cut through a mix like nothing else.
The VKFX Wah expands the user’s control beyond the one or two knobs
commonly found on the original auto wahs. You can now choose filter
types, change envelope polarity, sweep the filter frequency with an LFO
and sync that sweep to an internal or external clock source. You can even
assign a midi control source (perhaps a pedal or wheel) to the sweep.

36
10.01 Controls
Sync
Mode
Switches between three different filter models, examples of which can be
found in the accompanying illustrations:
Lowpass
As the cutoff frequency (position) of this filter is moved lower, frequencies
above its setting are blocked and lower frequencies are passed. It tends to
have the warmest tone, as the bottom end is the last thing to disappear.
Bandpass
Removes all frequencies outside of a set band around the cutoff frequency
(position). Not as warm as the lowpass filter, but not as thin as the
highpass. It has a very present sound when used for the auto wah effect.
Highpass
Works in reverse of the low pass filter. Frequencies below the cutoff
frequency (position) are removed, while frequencies above it are allowed
to pass through. Regarded as ‘thin’ in the 70s and 80s, highpass filters
have become much more popular in the last decade and are at the core of
many dance music basses and melodies.
Position
This knob sets the initial cutoff frequency of the filter, from low when set
fully counter clockwise to high when set fully clockwise. Its ideal position
will vary greatly depending on the instrument being processed, the type of
filter, the range of modulation, the polarity setting of the envelope, and
your LFO depth. The Position knob is extremely interactive with the range

37
knob. Using a midi controller pedal, sweeping this function would create
quite a reasonable emulation of a manual wah pedal.
Range
This knob sets the ‘throw’ of the effect, or the distance that the filter cutoff
frequency will be moved based on how much input signal is received. If
you use a low range setting, there won’t be much movement of the filter.
If you us a very high range setting, depending on your Position setting,
you may find that, while you get plenty of filter movement, the filter
spends too much time ‘open’ at such a high frequency that it isn’t
operating within the frequency spectrum of the instrument being
processed (assuming you have a positive envelope polarity and no LFO
depth set). To find a good range for your instrument, start with the
Position knob set low and gradually turn up your Range as you play. As
your input signal increases, the filter movement will be wider and wider
depending on this setting. You should soon begin to hear the filter respond
more and more to your dynamics. Also notice how, when you sustain a
fading chord, the filter closes proportionately with the drop in input signal
level.
Release
This knob determines how long it takes for the envelope to reset after the
input signal causes the filter to peak. A fast release will make the filter
envelope ‘reset’ quicker and seem more responsive and aggressive, a slow
release will make it ‘smoother’ and less prominent. Release actually affects
two aspects of the Wah’s response. Release is working both to reset the
filter position in the pauses between input signals, and to determine the
amount of time it takes for the filter to return to its initial position while
you maintain an input to the effect (eg while you sustain a chord). From
this point of view you need to strike a balance between a release which is
fast enough to reset the filter for quick passages, and slow enough to give
you a nice long filter sweep on sustained notes.
Polarity
This switch inverts the direction in which the filter travels.
In the ‘+’ position, the filter frequency is swept in a positive direction,

from low to high, and then back down again as the input signal fades. This
is the setting most people are used to hearing. The settings on the
illustration at the beginning of this section are a good starting point if
you’re looking for the classic envelope filter sound. The three aspects of
this patch which have the greatest impact on the effect are: Input Level,

38
Position and Range. Altering any of these slightly is usually very
noticeable.
In the ‘-‘ position, the filter frequency is swept in a negative position from
high to low, and then back UP again as the input signal fades. This setting
fools a lot of people, because to be effective it requires the filter to start in
a more open position.
When using the negative option, try setting the Position knob fully
clockwise (as in the illustration), and then make adjustments between it,
the range and release knobs. The effect of a negative direction envelope is
more of a ‘chomping’ sound than a ‘wah’, as it initially shuts the filter
down when the input is hit hard, and gradually fades open as the input
level drops off. It’s quite a different , almost percussive sound. With the
right input level, the example above should give you a good place to start
for this effect. In this patch, the input level and range knob settings are
highly interactive. If your input signal is as high as you want to set it and
you need more ‘throw’ on the wah, turn the range knob further clockwise.
This causes the filter travel to increase for the same input level.
LFO
The VKFX lets you sweep the filter with an lfo, either in sync or freerun.
Again, the LFO’s effectiveness will greatly depend on the Position knob
setting.
Rate
Here you can set either the freerun speed of your wah modulation, or (in
conjunction with the left-hand sync section) the tempo division as it
relates to the Master clock/Host clock.
LFO Phase Offset

When the Wah LFO is set to sync to an external clock, the rate knob takes
on a different functions (as it is no longer required for LFO speed). In sync
mode the rate knob alters the phase of the LFO in relation to the incoming

39
clock. Basically, this allows you to match your LFO cycle to the beat. With
this control, not only can you put your LFO effects perfectly in sync with
the host’s tempo, but you can also adjust the actual position of your LFO
waveform so that it’s in the rhythmic ‘sweet spot’ that you prefer.
Depth
Determines the maximum distance that the LFO will cause the filter cutoff
frequency to travel. Keep in mind that this function is highly interactive
with the Position and Range settings, and it’s worth spending a bit of time
getting used to how one affects the other.

40
11 Phaser
A phaser creates a sweeping effect by modulating a comb filter. A comb

filter is a filter with a frequency response that has a number of sharp dips
and peaks. (when plotted, the result looks like the teeth of a comb). As
the filter cutoff frequency is swept (usually by an LFO), you get varying
degrees of harmonic cancellation and reinforcement, which results in the
‘phasing’ effect we’ve all come to know and love. If more than one phase
shifting circuit is used, the effect becomes more complex. The VKFX uses a
4 stage phase circuit, as did the most popular vintage stomp box phasers
of the 70s.
11.01 Controls
Sync
Mode
This switch changes the whole architecture of the phase shifting model,
altering both the LFO waveforms and the frequencies at which they
operate on each stage.
Mode 1 is reminiscent of a popular vintage phaser, in which each stage

uses the same LFO frequency.
Modes 2 and 3 are inspired by another vintage phaser which applies

different LFO frequencies to each stage.
Center
This knob sets the centre frequency of the filter sweep. If you want
phasing on an instrument with a deep tone, you’ll probably lower the
center frequency. If it’s a bright instrument, you’ll probably move the
center frequency up higher. Think of the center knob as a way of ‘tuning’
the phaser in to the unique frequency range of your instrument.

41
Feedback
This knob feeds the effected signal back into the filter. The minimal delay
(a fraction of a sample) caused by this process results in a noticeably
‘thicker’ and more pronounced phase shift effect.
Rate
Here you can set either the freerun speed of your phase shifter, or (in
conjunction with the lefthand sync section) the tempo division as it relates
to the Master clock/Host clock.
LFO Phase Offset

When the Wah LFO is set to sync to an external clock, the rate knob takes
on a different functions (as it is no longer required for LFO speed). In sync
mode the rate knob alters the phase of the LFO in relation to the incoming
clock. Basically, this allows you to match your LFO cycle to the beat. With
this control, not only can you put your LFO effects perfectly in sync with
the host’s tempo, but you can also adjust the actual position of your LFO
waveform so that it’s in the rhythmic ‘sweet spot’ that you prefer.
Depth
Determines the maximum distance that the LFO will cause the center
frequency of the filter to travel.
Mix
Allows you to balance the ‘wet’ or effected signal with the ‘dry’ or
uneffected signal.
The example at the top of this section is a good starting place for a slow,
resonant phasing effect. The position of the center frequency knob should
suit most clavinet and electric piano sounds. Switching to mode 2 or 3 will
give you a deeper tone, but you’ll need to adjust the center and depth
knobs to find the ‘sweet spot’ for these modes.

42
12 Chorus
Chorus gets its name from the fact that instruments processed through
the effect often sound as if they have been double tracked, or as if there is
a ‘chorus’ of voices being played. Chorus is another cyclical effect which
adds movement to sound. In most cases it is subtler than phase shifting,
and can compliment it well. Whereas phase shifting is achieved by the use
of filters, chorusing is achieved by mixing the original signal with delayed
and modulated versions of itself. Usually the delay is extremely short
(perhaps 5-40ms), the speed of the modulating LFOs is slow (perhaps 1-
5Hz) and the depth of pitch modulation of the delayed signal is not great.
Chorus character is largely dependant on the number of discrete versions

of the signal which are being modulated, and the waveform of the
modulating LFO. Classic examples of simple chorus units can be found in
solid state guitar amps from the 70s, and certain classic stomp boxes from
the same period. A more sophisticated chorus device designed specifically
for keyboards was the ‘ensemble’ circuit found in the ‘string machines’ of
the 70s.
12.01 Controls
Mode
Switches between three chorus models.
The first two modes are very similar: They have a modulated delay line
which is mixed with the dry signal by an amount (mix) chosen by the user.
The waveform of the LFO in the first mode is based on a sine wave, and
gives the smoothest cycle.
In the days of the first analog effects pedals the discrete circuitry available
made it quite difficult to achieve a true sine LFO waveform, so
manufacturers applied a triangle waveform and simply attempted to

43
‘round it off’ so that it sounded smoother. The second mode is inspired by
the classic stereo chorus ensemble foot pedal which used this type of
‘smoothed triangle’ modulating waveform.
The third mode is quite different, and simulates the classic complex ‘string
machine’ ensemble circuit. This circuit has three independent delay lines
modulated with three independent LFOs with different frequencies and
depths. The output of the three lines is mixed together without the dry
signal, As there is no single modulation source , when sync mode is
activated the three LFOs are preset to run at the ‘classic’ string ensemble
frequencies. When sync is deactivated, these ‘classic’ frequencies can be
obtained by setting the rate knob at about 2 O’clock.
Center
This knob alters the frequency range within which the chorus effect will
operate. When set fully counter clockwise, the chorus effect is limited to a
relatively narrow band of frequencies – from 400Hz to 1000kHz. As you
turn the knob clockwise, the chorus effect is applied to a gradually
widening range of frequencies. At its maximum clockwise point, the chorus
effect is applied across the whole frequency range (20Hz to 20kHz). This
knob is best thought of as a ‘tuning’ knob which helps you find the ‘sweet
spot’ at which the chorus sounds best on the particular instrument being
processed.
Depth
This knob controls the amount of pitch modulation applied to the delayed
signal. At extremes, you can create anything from a drunken warble to a
bar room piano effect. Conservative use can lend an otherwise two
dimensional tone a lot of depth and space.
Rate
Here you can set either the freerun speed of the chorus LFO(s), or (in
conjunction with the lefthand sync section) the tempo division as it relates
to the Master clock/Host clock.
Feedback
This knob feeds increasing amounts of the already effected signal back
into the delay line. This increases the depth of effect.
Mix
This knob allows you to balance between the delayed and dry signals. This
helps to ‘center’ the pitch of the chorused sound.

44
The patch shown at the head of this section illustrates a general purpose
soft chorus, which adds dimension to a sound without having an obvious
cycle or pitch modulation. The examples below show more extreme
applications of chorus. The first patch will mutate your elegant grand piano
into a poorly maintained bar room honky tonk keyboard, whereas the
second patch will turn the simplest sawtooth synthesizer waveform into
classic string ensemble machine. Stand back – for zis kraft to verk, ve
need a little oxygene for ze dream weaver please.
Bar room piano patch. Note the extreme LFO depth -

the source of detuning.
String Machine patch. Note the use of mode 3, and

the wet mix.

45
13 Overdrive
The harmonic distortion produced by a valve amplifier when it’s overdriven

is an attractive sound to most musicians (but not their neighbours at
3am!). Unfortunately, it’s generally only achieved by turning the amp up
loud. For those of us looking for a little dirt in our sound, the 70s saw the
birth of stomp boxes offering ‘solid state’ distortion. There were basically
two types of distortion units available through this period – those with soft
clipping characteristics, and those which utilised hard clipping. Soft
clipping devices were often termed ‘overdrive’ units, exhibiting a smoother
distortion sound and a noticeable compression characteristic. They were
sometimes used to ‘overdrive’ the input signal of a valve amp in order to
obtain heavier distortion at lower volumes. Keyboard players of the time
were able to get a very cool distortion sound when running their tine
based electric piano into a classic twin channel valve amp, or their tone
wheel based organ into a rotating speaker system with a valve amp. As
keyboard rigs got smaller and amps became more powerful (and solid
state) more than a few keyboard players attempted to replicate the valve
sound of their vintage amp or rotating speaker system via a distortion
pedal of some kind. One of the most popular overdrive pedals of all time
was a small green stomp box, a source of inspiration in the design of the
VKFX Overdrive module.
13.01 Controls
Drive
This knob controls the amount of signal being fed to the distortion circuit.
Tone
As this knob is turned clockwise, in general it alters the tone of the
distorted signal. Specifically it boosts high frequencies over 1.5kHz and
cerates a slight dip in the mid range.
Level
This knob sets the output volume of the distorted signal.

46
14 Delay
The Delay module harkens back to the days of tape echo. The original tape
echo effect was created by recording an input signal to tape via a tape
head and then replaying that signal through another tape head. The
physical distance between the record head and the playback head
determined the delay time. It was not uncommon to walk into a studio and
see long tape loops strung from one tape machine to another as an
engineer attempt to achieve a nice long delay. This messy situation was
partially solved when companies worked out ways to force the tape to
travel greater distances between heads by following a ‘long and winding
road’ within the tape machine itself. This meant tape echo machines the
size of a bread box could achieve quite long delays. By placing several
heads at different distances along the tape path, they were also able to
create different syncopations of delay depending on which heads were
monitored. However, the days of the tape delay were numbered, as solid
state bucket brigades and, eventually, digital delay lines proved to be
more reliable and convenient than tape loops in the long run.
One feature of tape delays which was lost in the digital move forward was
the effect on the sound of the tape itself. In tape delays, the signal is
delayed by keeping it on the magnetic tape for a time. For every repetition
of the delay, the signal is recorded to and played back from the tape. The
more repetitions, the more intense is the effect of the tape on the sound.
Some manufacturers of digital delay lines attempt to reproduce this by
simply damping the high frequency component of the delayed signal, but
the actual sound of tape delay is much more complex than a simple loss of
top end.
The VKFX delay utilises an intelligent tape simulation algorithm which
reproduces both the compression effects and frequency response of
analogue tape for each repetition of the delayed signal.

47
14.01 Controls
Mode
The VKFX simulates the multiple head approach available on vintage
tape echoes. These were the forerunners of today’s ‘multi tap’ delays,
where varying ‘sub’ delay intervals are derived from the main delay
time. The VKFX model is a tape delay with three playback heads spaced
at even intervals. Modes can be accessed by either clicking directly on
their corresponding led, or by using the mode switch to step through
them sequentially. Each mode represents a different head configuration
which in turn determines the rhythmic syncopation of the delays. You’ll
probably find it easier to visualise this if you run the delay module
synced to your host apps tempo and play against a click or loop while
switching modes. We’ve also included a graphic illustration of each
mode. Note that Modes 1 through 5 are mono, with each delay panned
to the center of the stereo field, whereas modes 6 through 8 are stereo.
Mode 1 is a simple single delay, with mode 2 being identical, but half
the time interval, and mode 5 also identical, but running at a quarter
the time interval of mode 1. Mode 7 is the classic stereo ‘ping pong’
delay, and mode 8 is identical to mode 7, but running at half the time
interval. Mode 6 ping pongs in stereo reverse of mode 8, but after ping
ponging plays an extra delay panned to the centre of the stereo field.
Modes 3 and 4 are syncopated – play them and see ;)
VKFX Delay modes illustration
Modes 1-5 are mono.

Modes 6-8 are stereo.
‘X’ represents the input signal – occurring on the downbeat.
The numbers in the squares represent individual repeats.
The specific number assigned to the repeat shows on which beat in the bar
the repeat occurs.
The three vertical columns represent stereo positions - Left, Center and
Right.
For example, with a signal input on beat 1:
In mode 1:
There is only one repeat, which will be heard exactly one bar (four beats)
after the original signal, and is placed in the center of the stereo image.

48
In mode 5:
The first repeat will be heard on beat 2, in the center of the stereo image.
The second repeat will be heard on beat 3, in the center of the stereo
image.
The third repeat will be heard on beat 4, in the center of the stereo image.
On the other hand, in mode 6, although the repeats occur with the same
timing pattern as mode 5:
The first repeat will be heard on beat 2, from the left speaker.
The second repeat will be heard on beat 3, from the right speaker.
The third repeat will be heard on beat 4, in the center of the stereo image.
Sync
Time
When the module is in freerun mode, the time knob sets the base delay
time, which can range from 0 to 2.7 seconds.
When the module is in sync mode, the time knob selects delay intervals
using the table of musical tempo divisions referred to in the sync section.
With sync mode on, the maximum delay time is determined by the sample
rate of the host application.
Sample Rate(kHz) Delay Time (sec)
44.1 5.9
48 5.5
88 2.3
96 2.7

49
Feedback
This knob controls the amount of output signal being added back to the
input of the delay module. The effect of feedback is an increase in the
number of delays, with a changing tonality determined by the VKFX tape
simulation algorithm.
Tone
This knob allows the user to reduce the brightness of the delayed signal.
When set full clockwise, the initial delay will sound similar to the original
signal. When turned counter clockwise, the top end of the delayed signal
will drop away. Using this knob in tandem with the Mix knob will help you
determine the overall position of the delayed signal in relation to the
original.
Mix
This knob varies the balance between the original signal and the delayed
signal, from 100% original signal (no delay at all) when set fully counter
clockwise, to an 100% delayed signal (no original at all) when set fully
clockwise.
The patch illustrated at the head of this section is a very basic dub style
delay setting, with the delay synced to the host sequencer’s tempo, timing
set to a quarter note triplet and lots of feedback. In dub, this kind of delay
is usually ridden throughout the mix – something VST automation makes
quite easy ;)
The patch illustrated at the end of this section would be a good place to
start if you were looking for the polyrhythmic delay approach used by U2’s
The Edge. Delay is locked to the host sequencer, sync rate is dotted eighth
notes, and feedback is set to deliver four or five delays. To get closer, you
might want to load a few instances of the VKFX simultaneously, running
some short delays and EQ as well.
A delay using dotted timing and feedback to achieve a

polyrhythmic build up while sync’d to a master tempo

50
15 Amp
Before the advent of solid state amplifiers, the running mate of any classic
keyboard was a good valve amp, either something like a twin channel
valve amp to go with a vintage tine based electric piano, or a rotating
valve amp/speaker combo for organs. Amps like the classic twin channel
valve amp didn’t just amplify the original tone of an instrument, they
coloured and changed it in a variety of ways. Between the EQ circuit, the
valves, speakers and cabinet, the sound of an instrument like a vintage
tine based electric piano was significantly altered. So much so that when
solid state amplifiers arrived on the scene, many a electric piano
aficionados complained that their pianos lacked ‘life’ and ‘bite’ when they
used these new ‘improved’ designs.
Behind the deceptively simple façade of the VKFX’s Amp module is some
very mature amplifier modeling code which will instantly take many
players back to the ‘comfort zone’ of their original twin channel valve amp
with integrated 2x12” speaker cabinet and spring reverb.
15.01 Amp/EQ section - controls
Out/In
This switch removes the amplifier and EQ models, allowing you to use the
spring reverb model in isolation. Note that this module is constantly
modelling a valve amplifier. Even without increasing the channel EQ and
volume settings, you will hear an increase in the ‘amp’ sound by simply
driving more signal into the module’s input.
Low, Mid and High

The knobs are reminiscent of the EQ found on a vintage twin channel valve
amp. They play a huge part in shaping your sound since they have a very
characteristic quality to them. A lot of 'meat' and 'grit' comes from this
EQ, which is why the classic twin channel valve amp is still used by so
many musicians. We're sure you'll find yourself wondering, once you start
using it, how you ever got by without it!].

51
Volume
This knob models the channel volume control on a classic valve amp. The
results you get from altering volume at this point will vary a fair bit
depending on your EQ settings and how hard you drive the input level.
15.02 Reverb section - controls
Spring reverb units were historically the result of telecommunications

engineers’ attempts to simulate the delay conditions inherent in long
distance calls. They used a combination of electromagnets and springs to
delay an audio signal. After seeing one working in the lab in the 1930s,
one organ manufacturer incorporated a spring reveb device into an organ
design specifically to emulate the ambient effect accompanying any live
performance in a concert hall. Back in those days, the cabinet for such a
spring reverb unit was over four feet tall! In the 60s, a popular guitar
manufacturer added a smaller version of this device to his twin channel
valve amplifier, and the rest - as they say – is history.
The VKFX modeling is inspired by the signal processing properties of a

vintage 4 coil spring reverb unit.
Time
This varies the length of the spring reverb’s decay from 1.2 to 4.8
seconds. This process used to be done by varying the amount of oil in a
tube connected to the springs. Luckily, we’ve been able to dispense with
such a messy process, and you can now do the same thing with your
mouse instead. The decay time for the classic Type 4 spring reverb was
2.4 seconds, which you can recall by setting the time knob to its center
position (12 o’clock).
Mix
This knob introduces an increasing amount of reverb signal into the mix as
you turn the knob clockwise. At fully counter clockwise the signal is dry. A
fully clockwise setting will give a 100% reverb signal.

52
16 Midi and the VKFX
Virtually all parameters on the VKFX - knobs, switches and sliders are
midi controllable. The table below lists control destinations on the right
and their default midi continuous controller assignment on the left. If your
preferred midi controller lacks the ability to assign the controller of your
choice (a wheel, slider or pedal perhaps) most of the popular sequencers
will allow you to assign completely different midi profiles to incoming
controllers through the use of ‘transform’, ‘logical edit’ or similar functions.
Please refer to your VST host or sequencer’s manual for further
information on this.

53
16.01 Default Routing of MIDI Continuous Controllers to
Parameters
# CC# PARAMETER CC# PARAMETER
PREAMP CHORUS
12 ON/OFF 57 CHORUS – ON/OFF
13 PREAMP SECTION ON/OFF 58 CHORUS – SPEED
14 BASS 59 CHORUS – DEPTH
15 VOLUME 60 CHORUS – FEEDBACK
20 TREBLE 61 CHORUS – CENTER
21 TREMOLO MODE 62 CHORUS – MIX
22 TREMOLO WAVE 63 CHORUS – SHAPE
23 TREMOLO SPEED 115 CHORUS – SPEED BPM SYNC
24 TREMOLO INTENSITY
112 TREMOLO SYNC SPEED OVERDRIVE
119 TREMOLO LFO PHASE 75 OVERDRIVE – ON/OFF
76 OVERDRIVE – DRIVE
COMPRESSOR 77 OVERDRIVE – TONE
25 COMPRESSOR – ON/OFF 78 OVERDRIVE – LEVEL
26 COMPRESSOR – THRESHOLD
27 COMPRESSOR – ATTACK DELAY
28 COMPRESSOR – RELEASE 79 DELAY – ON/OFF
29 COMPRESSOR – MAKEUP 85 DELAY – SPEED
86 DELAY – FEEDBACK
WAH 87 DELAY – MODE
30 WAH – ON/OFF 88 DELAY – TONE
31 WAH – POSITION 89 DELAY – MIX
44 WAH – DEPTH 116 DELAY – SYNC SPEED
45 WAH – RELEASE
46 WAH – MODE AMP
47 WAH – POLARITY 90 AMP – ON/OFF
48 WAH – LFO SPEED 102 AMP – LOW
49 WAH – LFO DEPTH 103 AMP – MID
113 WAH – LFO SYNC SPEED 104 AMP – HIGH
120 WAH – LFO PHASE 105 AMP – VOLUME
106 AMP – REVERB
PHASER 107 AMP – AMP SECTION ON/OFF
50 PHASER – ON/OFF 108 AMP – REVERB TIME
51 PHASER – SPEED
52 PHASER – DEPTH MASTER
53 PHASER – FEEDBACK 109 MASTER – MORPH A/B
54 PHASER – CENTER 110 MASTER – INPUT LEVEL
55 PHASER – MIX 111 MASTER – OUTPUT LEVEL
56 PHASER – SHAPE 117 MASTER – INTERNAL BPM
114 PHASER – SYNC SPEED 118 MASTER – SYNC MODE
121 PHASER – LFO PHASE

54
17 Production Credits & Thank You To
Idea And Project Management

Thomas Hansen Skarbye
Audio Engine Programming:

Thomas Serafini
User Interface Programming:

Alfonso De Prisco
Graphics Design:
Stefan Kengen
Manual and Press Release:

Rick Chadwick
Cover Artwork and Design by

Anne Skarbye
Pdf User Manual Design

Thomas Hansen Skarbye, Rick Chadwick
The Beta Team:
Lars Daniel Terkelsen

Dirk Frickenschmidt
Larry Thompson
Simone Coen
Al Turner
Jules Bromley
Didier Martini
Rick Chadwick
Thomas Hansen Skarbye
Thomas Serafini
Alfonso De Prisco
Stefan Kengen
Frederik "Figge" von Wachenfeldt

55
Thank You To
Massimiliano Marretta (Max) for doing the Installer and all web related
stuff. Francesca Maletti for helping with the initial graphics concepts.
Philip Pendleton for making our website www.scarbee.com and setting up

online registration and download the download section.
The fantastic beta-team – couldn’t have done it without you!
The Steinberg crew for help and inspiration: Helge Vogt, Yvan Grabit,
Lars-Oliver Meding and Michael Logue. Also thanks to Pete Snell, Joe Bibbo
and Jim Van Buskirk from TASCAM. Jens Lüpke for helping with the tine
based electric piano Preamp and Martin Kaufmann for sending us electric
piano tremolo recordings!
The cool musicians in Artist Lounge: George Duke, Philippe Saisse, Al

Turner, Chris Beck, Otmaro Ruiz, Braxton Brothers, Ola Onabule, Steve
Levine and Freddy Turner.
Our distributors Sonivox MI, Time & Space, Best Service, Crypton Future
Media and Futureware for distribution, all our loyal users around the
world!
Eitan Teomi, Christian Vinten and Simone Coen for great friendships and
energy.
My wife Anne and our sons, Nikolaj, Oscar and Victor for their love and
support – Thomas Hansen Skarbye.
My wife Alessandra for her great love and support and my daughters,
Laura and Silvia, for keeping my mood so good every day. Words cannot
express how important you are to me – Alfonso De Prisco.

56
18 Frequently Asked Questions
Q. Does Vintage Keyboard FX use any kind of copy protection?
A. Yes. You must ‘authorize’ the plug-in to make it fully functional. When
initially installed, Scarbee VKFX will run in unregistered mode without
authorization and sound bypassed (no effects). After you registered with
the serial number you received with the plugin, it will work fully functional.
Q. I have two computers and a Notebook that I use for music – do

I really need to buy three copies of the plugin?
A. No, we have tried to be as fair as possible, so you can actually install
Vintage Keyboard FX on up to 3 computers and even use them at the
same time as long as you are the ONLY user of the plugin.
Q. Can I transfer my authorization from one computer to another?

A. Yes. Our licence policy just limits to up to 3 different authorizations.
Q. Will changing hardware in my computer affect my

authorization?
A. No, you just have to carefully keep the serial number stored. In case of
hardware changes you'll have to re-authorize with that serial number.
Q. What happens if I run out of authorizations?

A. Please email us at support@scarbee.com
Q. If I compose or produce with someone else - can he/she use my

plugin in their computer?
A. No....the license to use Vintage Keyboard FX is on a per person basis.
They would need their own copy.
Q. I and several other composers/producers have our studios in

the same facility. Can we all use Vintage Keyboard FX from our
main server?
A. No, Each user needs to have his or her own registered copy of Vintage
Keyboard FX.
Q. Can I install Vintage Keyboard FX on my studio or rental

computer for clients to use?
A. No....the license to use Vintage Keyboard FX is only granted to the
buyer. Your clients aren't licensed to use it on their own.

57
Q. If I don’t use it anymore - can I resell Vintage Keyboard FX used
to someone else?
A. No, the VKFX is licensed only to you. You cannot transfer the license to
someone else. If you sell your computer, you must delete VKFX from the
hard drive.
Q. Who do I talk to if I have more questions about licensing or

authorization?
A. You can email us at support@scarbee.com

58
19 End-User License Agreement
END-USER LICENSE AGREEMENT FOR
SCARBEE Vintage Keyboard FX
-----------------------------------------
SOFTWARE LICENSING CONTRACT
-----------------------------------------
NOTICE TO USER: THIS IS A CONTRACT. BY INSTALLING THIS SOFTWARE, YOU ACCEPT ALL THE
TERMS AND CONDITIONS OF THIS AGREEMENT. Please read this Agreement carefully.
This SCARBEE End User License Agreement accompanies a SCARBEE computer software program and its
documentation and other related explanatory materials (hereinafter called "the Software"). The term
"Software" shall also include any upgrades, modified versions or updates of the Software licensed to you
by SCARBEE. This copy of the Software is licensed to you as the end user.
BY CLICKING ON THE "ACCEPT" BUTTON BELOW, OR BY INSTALLING OR USING SCARBEE VINTAGE

KEYBOARD FX, YOU ARE AGREEING TO ALL THE TERMS AND CONDITIONS OF THIS AGREEMENT, AND
CONSENT TO BE BOUND BY AND BECOME A PARTY TO THIS AGREEMENT. IF YOU DO NOT AGREE TO
ALL OF THE TERMS OF THIS AGREEMENT, DO NOT CLICK THE "ACCEPT" BUTTON AND YOU WILL NOT
HAVE ANY LICENSE TO ANY PART OF THE SOFTWARE.
1. License Grant, Use, and Restrictions. Subject to the terms and conditions of this Agreement,
SCARBEE hereby grants you a nonexclusive, non-transferrable to use the software, provided that you
agree to the following:
YOU MAY: (a) install the Software on up to three computers; (b) physically transfer the Software from
one computer to another provided that it is used on maximum three computers at a time (your own
computers ONLY – not computers belonging to friends or colleagues you share studio facilities with); (c)
make backup copies of the Software.
YOU MAY NOT: (a) copy it to additional sites over a network or make additional copies for use on
additional networks or sites or distribute copies of the Software to others; (b) rent, lease or grant sub-
licenses or other rights to the Software; (c) resell the software as a used product to someone else
because this is a non-transferable license. The license to use this product is granted for a single user
only. (d) electronically transfer or post Vintage Keyboard FX to another person or group of persons over
the Internet or place them in a computer network to be accessed by multiple users. (e) reverse
engineer, decompile, disassemble or otherwise attempt to discover the source code of the Software. (f)
give the serial number to any other person, organisation or company or in any way transfer it from one
computer to another over a network or copy or relocate the serial number to additional sites over a
network, doing so will effectively void your use and license of the software and its content.
This License does not specifically entitle you to any updates, enhancements, or improvements to the
Software. SCARBEE may release these at times, and from time to time, at its sole discretion.
2. Title, Copyright, and Other Rights. The Software is owned by SCARBEE, and its structure, organization
and code are the valuable trade secrets of SCARBEE. The Software is also protected by Copyright Law
of Denmark and International Treaty provisions. You may use trademarks only to identify output
produced by the Software, in accordance with accepted trademark practice, including identification of
trademark owner’s name. Such use of any trademark does not give you any rights of ownership in that
trademark. Except as stated above, this Agreement does not grant you any intellectual property rights in
the Software.
3. Disclaimer of Warranty. The Software is being delivered to you AS IS and SCARBEE makes no
warranty other than that the Software shall conform to the specifications in the documentation during a
warranty period of twelve months from delivery.

59
4. Limitation of Liability. APART FROM ABOVE, SCARBEE AND ITS DISTRIBUTORS DO NOT AND CANNOT
WARRANT THE PERFORMANCE OR RESULTS YOU MAY OBTAIN BY USING THE SOFTWARE OR
DOCUMENTATION. SCARBEE AND ITS DISTRIBUTORS MAKE NO WARRANTIES, EXPRESS OR IMPLIED,
AS TO NON INFRINGEMENT OF THIRD PARTY RIGHTS, MERCHANTABILITY, OR FITNESS FOR ANY
PARTICULAR PURPOSE. IN NO EVENT WILL SCARBEE OR ITS DISTRIBUTORS BE LIABLE TO YOU FOR
ANY CONSEQUENTIAL, INCIDENTAL OR SPECIAL DAMAGES, INCLUDING ANY LOST PROFITS OR LOST
SAVINGS, EVEN IF A SCARBEE REPRESENTATIVE HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH
DAMAGES, OR FOR ANY CLAIM BY ANY THIRD PARTY.
Some jurisdictions do not allow the exclusion or limitation of incidental, consequential or special
damages, or the exclusion of implied warranties or limitations on how long an implied warranty may last,
so the above limitations may not apply to you.
5. This contract shall be exclusively subject to the laws of Denmark. If any one stipulation of this Licence
contract should be or become invalid, completely or in part, this shall not affect the validity of the
remaining stipulations. The parties undertake instead to replace the invalid stipulation with a valid
regulation which comes as closely as possible to the purpose originally intended. Place of jurisdiction is
location of the national sales company or agent. SCARBEE can also, however, at its free discretion, open
proceedings at the registered address of the Licensee.
6. Termination. This Agreement shall automatically terminate upon failure by you to comply with its
terms. This Agreement may only be modified in writing signed by an authorized officer of SCARBEE.
Upon termination, you shall immediately cease all use of the Software and return or destroy all copies of
the Software. Except for the License granted in Section 1 and except as otherwise expressly provided
herein, the terms of this Agreement shall survive termination. Termination is not an exclusive remedy
and all other remedies will be available whether or not the license is terminated.
SCARBEE constantly monitors other Soundware and Software releases to check for copyright
infringements, and will prosecute all piracy and copyright violations to the fullest extent of the law.
All questions concerning this Agreement should be directed to:
SCARBEE
Bognaesvej 39
DK-4300 Holbaek
Denmark
Phone: +45-59461676
Fax:+45-59461676
e-mail support@scarbee.com
©2006 SCARBEE. All Rights Reserved. All Trademarks are the property of their
respective holders.

60
20 Copyright Disclaimer
All product names used in this manual are trademarks of their respective
owners, which are in no way associated or affiliated with SCARBEE.
These trademarks of other manufacturers are used solely to identify the

products of those manufacturers whose tones and sounds were studied
during SCARBEE’s sound model development.
© 2005 SCARBEE. Vintage Keyboard FX is a trademark of SCARBEE.

All rights reserved.

61

VKFX Manual

Uploaded by

Copyright:

Available Formats

VKFX Manual

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

VKFX Manual

Uploaded by

Copyright:

Available Formats

Table Of Contents

04.01 HOW TO REGISTER 12

05.01 SYNC OPTIONS 13

06.01 THE MODE SWITCH 16

07 THE MASTER SECTION 17

08.01 PREAMP SECTION - CONTROLS 27

15.01 AMP/EQ SECTION - CONTROLS 51

16 MIDI AND THE VKFX 53

17 PRODUCTION CREDITS & THANK YOU TO 55

18 FREQUENTLY ASKED QUESTIONS 57

19 END-USER LICENSE AGREEMENT 59

But doesn’t Scarbee make sampled instruments exclusively?

Initially, the VKFX graphics were created in collaboration with Italian

Using the same uncompromising approach that was taken with

Why combine all these fx in a ‘single screen multi module virtual

The multi module approach has several advantages over other

1. Loading just a single plugin gives you immediate access to one or

2. Because each effect is generated by a unique module, any unused

6. The single screen set up makes rearranging the order of your fx

But wait! There’s more!….

Sophisticated file management options allow you to save or load

Both context sensitive help and an online manual are available

As a VST compliant plugin, Scarbee VKFX runs in any VST compliant

04.01 How To Register

VKFX is designed to work as a standard FX plugin, so after

05.01 Sync Options

Preset management in the VKFX is a little more extensive than in

Knobs can be individually set to factory default positions by holding

Standard sync values are represented with a fraction sign –

Triplet values display an additional trailing small letter ‘t’ –

Dotted values display an additional trailing small letter ‘d’ –

06.01 The Mode Switch

Several modules sport a ‘mode’ switch. The function of the mode

Although deceptively easy to use, preset morphing is an extremely

The implications of this feature for real time manipulation are

Something to keep in mind: Morphing works best when

This switch allows you to switch between monitoring your levels at

07.04 L/R Link Switch

07.05 Volume Knobs

In combination with the VU Input/Output Switch , you can use either

A brief note on gain structure:

When using the form of 32 bit floating point calculation that is

Clicking on the Preset button displays the list of factory presets.

Saving a preset in the VKFX is generally as quick as two clicks, type

The Save button in the Master Section calls up

Checking ‘Module Positions’ in the ‘Whole Preset’ section will cause

Checking ‘Master Section’ in ‘Whole Preset’ will cause the settings in

Checking the ‘Master Section’ of the ‘Individual Modules’ frame will

The Load button calls up the standard Windows

Checking ‘Master Section’ in ‘Whole Preset’ will cause the master

Checking the ‘Master Section’ of ‘Individual Modules’ will cause the

Clicking on the Help button toggles two functions:

The Preferences button is currently used to access and input

This module is inspired by the classic preamp section of a 70s tine-

08.01 Preamp section - controls

Tremolo is a cyclic change in volume, ie amplitude modulation. The

The illustration shows a square wave tremolo effect which is set to

© 2006 SCARBEE. Vintage Keyboard FX is a trademark of SCARBEE. All rights reserved.

A compressor alters the dynamic range of an audio signal. For example,

The VKFX compressor is modelled on early optical style compressors,