Overloud VKFX Manual
Contents
1. 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 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 marshaled 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 favorite 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 sav2. 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 5 kHz and creates a slight dip in the mid range Level This knob sets the output volume of the distorted signal 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
3. Vintage Keyboard AUDIO TOOLS Table Of Contents THE CONCEPT INSTALLATION REGISTRATION How To Register QUICK START Sync Options Host Internal Off Preset Management GENERAL OPERATION To sync or not to sync The Mode Switch THE MASTER SECTION Morph Sync VU Input Output Switch L R Link Switch Volume Knobs Metering Preset Save Load Undo Redo Info Help Prefs PREAMP STEREO TREMOLO Preamp Section Controls Volume EQ Bass Treble sync Tremolo Section Controls Amp Pan switch Rate LFO Phase Offset COMPRESSOR Controls Threshold O O OD 18 O O am Co A 15 17 18 Attack Release Makeup Controls sync Mode Lowpass Bandpass Highpass Position Range Release Polarity LFO Rate LFO Phase Offset Depth Controls sync Mode Mode 1 Mode 2 and 3 Center Feedback Rate LFO Phase Offset Depth Mix CHORUS Controls Mode Center Depth Rate Feedback Mix OVERDRIVE Controls Drive Tone Level Controls Mode sync 18 18 19 26 26 26 26 28 19 20 22 22 23 24 25 26 26 26 Time 28 Feedback 28 Tone 28 Mix 28 AMP Amp EQ section Controls Out In 29 Low Mid and High 30 Volume 30 Reverb section Controls Time 30 Mix 30 MIDI AND THE VKFX Default Routing of MIDI Continuous Controllers to Parameters PRODUCTION CREDITS amp THANKS TO Special Thanks To FREQUENTLY ASKED QUESTIONS COPYRIGHT DISCLA
4. frame will cause the master section settings of the VKFX to be saved with the module s Load The button calls up the standard operating system 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 favorite 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 c
5. 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 Please refer to the Sync section for more information Time When the module is in free run 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 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 overal
6. details Please see the Registration section for more information 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 popularized 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 Preamp Section Controls Volume A passive control which takes the input signal from 0 to 40 dB 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 affec
7. 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 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 THE MASTER SECTION The Master Section is VKFX command central where you can set global options for level and synchronization 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 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 a
8. 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 40 ms 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 artifact 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 swit
9. need to adjust the center and depth knobs to find the sweet spot for these modes 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 40 ms 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 dependent 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 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 bas
10. settings and it s worth spending a bit of time getting used to how one affects the other 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 Controls Sync Please refer to the Sync section for more information 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 ls reminiscent of a popular vintage phaser in which each stage uses the same LFO frequency Mode 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
11. the modules time based effects are synchronized 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 to 512 BPM accurate to 1 100 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 60 BPM 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 VU Input Output Switch This switch allows you to switch between monitoring your levels at either the input or the output of the rack 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 Volume Knobs i Q The volume knobs set the left and right channel output levels of the VKFX The range of the volume controls is from inf
12. the use of mode 3 and the wet mix OVERDRIVE The harmonic distortion produced by a valve amplifier when it s overdriven is an attractive sound to most musicians but not their neighbors at 3 am 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 utilized 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. 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 license 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 run out of authorizations A Please email us at Support overloud com Q If 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 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 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 Q If 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 talk to if have more questions about licensing or author
14. to the unique frequency range of your instrument 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 free run speed of your phase shifter 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 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 unaffected 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
15. 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 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 5 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 Linkab
16. IMER 29 29 30 30 31 32 32 33 THE CONCEPT VKFX is a eight module multi effect plugin Each effect module 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 electonic musical instruments development Why combine all these effects 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 minimize 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
17. Wan LFO PHASE 0 106 AMP REVERB PHASER 108 51 PHASER SPEED AR 53 PHASER FEEDBACK 1 10 MASTER INPUT LEVEL 11 MASTER OUTPUT LEVEL 121 PRODUCTION CREDITS amp THANKS TO Audio Engine Thomas Serafini Project Management Alfonso De Prisco User Interface Federico Marverti Graphics Design Stefan Kengen Special Thanks To Very special thanks to Thomas Hansen Skarbye SCARBEE who conceived this application and then gave it up to Overloud The original Scarbee beta test team Jules Bromley Rick Chadwick Simone Coen Dirk Frickenschmidt Stefan Kengen Didier Martini Lars D Terkelsen Larry Thompson Al Turner Frederik Figge von Wachenfeldt Also a special thank goes to Anne Skarbye who made the original product Cover Art and Design 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 have two computers and a Notebook that 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
18. 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 i e 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
19. ause 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 Undo Clicking on the Undo button will undo the last change you made to the VKFX The number of undos is virtually unlimited 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 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 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 Prefs The Preferences button is currently used to access and input registration
20. 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 Ammer arla a7 WAVEFORM PHASE IN RELATION TO BEAT LOCATION RATE PHASE 5 O CLOCK 47mr qorlqa 27 WAVEFORM PHASE IN RELATION TO BEAT LOCATION RATE PHASE 110 CLOCK 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 favorite Scarbee E E P samples through this patch 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 120 dB and after processing find that its dyna
21. ching the module on and off to check that you are making up gain lost through compression The makeup gain ranges from 0 dB to 24 cB 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 e g 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 lowered to the point hat 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 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 Trigger
22. d 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 5 ms to 200 ms 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 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
23. d 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 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
24. ed 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 Controls Sync Please refer to the Sync section for more information Mode Switches between three different filter models examples of which can be found in the accompanying illustrations z gt 0 z gt 0 T a gt 0 LOWPASS i BANDpPass HIGHPASS _ _ a FREQUENCY FREQUENCY FREQUENCY P FILTER CUTOFF FREQUENCY OR POSITION Lowpass As the cutoff frequency
25. ed 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 round t 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 400 Hz to 1000 kHz 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 20 Hz to 20 kHz T
26. ed 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 min
27. he original tone of an instrument they colored and changed it in a variety of ways Between the EQ circuit the valves soeakers 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 fa ade 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 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 modeling 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 wonder
28. his 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 free run speed of the chorus LFO s or in conjunction with the left hand 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 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 this kraft to work we need a little oxygen for the dream weaver please String Machine patch Note
29. ianos 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 Square wave Rhodes tm style Triangle Wave Wurlitzer tm style 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 characterized 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 free run 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 Free run tremolo rate is variable from 0 3 Hz to 22 2 Hz 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
30. ing once you start using it how you ever got by without it 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 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 reverb 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 sp
31. ing 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 resoond 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 e g while you sustain a chord From this point of view y
32. irst 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 question That s it for the quick start For the real meat and potatoes read on 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 millennium lock step or the vintage free run 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 sync able 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 free run 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
33. ization A You can email us at Support overloud com COPYRIGHT DISCLAIMER All product names used in this application are trademarks of their respective owners which are in no way associated or affiliated with Overloud These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose tones and sounds were studied during the application sound model development 2010 OVERLOUD audio tools Overloud is a trademark of Almateg srl Italy All rights reserved
34. l 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 synced to a master tempo AMP 0 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 t
35. le 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 INSTALLATION To install the Overloud 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 If you need support please refer to FAQ information first If you can t find your case contact the technical support at support overloud com REGISTRATION When initially installed Overloud VKFX will run in unregistered mode without authorization I
36. ll 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 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 Ca 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 Sync The master sync switch cycles between three sync modes allowing you to choose whether
37. mic range has dropped to 60 dB 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 modeled 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 peo
38. ou 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 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 Its quite a different almost percussive s
39. ound 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 free run Again the LFO s effectiveness will greatly depend on the Position knob setting Rate Here you can set either the free run 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 lock 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
40. our 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 asimple 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 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
41. ple 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 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 Controls There are five elements to the VKFX Compressor module Threshold With a range of 0 to 30 dB 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 threshol
42. 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 high pass 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 high pass 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 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 sett
43. ring 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 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 Default Routing of MIDI Continuous Controllers to Parameters COF PARAMETER CC PARAMETER PREAMP CHORUS 14 Bass CHORUS FEEDBACK 20 TREBLE CHORUS MIX CHORUS SPEED BPM SYNC OVERDRIVE TREMOLO LFO PHASE OVERDRIVE ON OFF elder COMPRESSOR ON OFF 26 COMPRESSOR THRESHOLD aaa DELAY ON OFF 86 DELAY FEEDBACK WAH 30 WAH ON OFF 89 DeLay Mx _ __ 46 owe 90 Amp ON OFF a EOS ED 49 WaH LFO DEPTH 103 113 0 120
44. t 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 Overloud 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 authorize 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 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 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 Quick start 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 host s list of plugins just like any other FX plugin You ll be inserting it across either a standard audio track a gro
45. 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 utilizes an intelligent tape simulation algorithm which reproduces both the compression effects and frequency response of analogue tape for each repetition of the delayed signal 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 visualize this if you run the delay module synced to y
46. ting a frequency range from 400 Hz to 5 kHz with the amount of cut varying from 0 4 dB to 15 5 dB 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 2K Hz to 20 KHz When boosting as a shelving filter it adds up to 24 dB in the 10 KHz area With the treble knob at 12 o clock you have a largely unaffected signal Turn it anti clockwise 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 Tremolo Section Controls Tremolo is a cyclic change in volume i e amplitude modulation The VKFX tremolo pays homage to both the stereo tremolo of the classic tine based electric p
47. to 15 dB 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 modeling 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 3 dB Please remember that a a lit led doesn t indicate clipping simply that the module s input is approaching O dB and b if you do exceed O dB at the input to a module you cannot cause distortion within the VKFX z ia i w ELAGE A CUGOANA f 7 i 4 l eecoece 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 initializes the VKFX to its factory settings AG Acoustic Guitar BS Bass CL 70s Funky Electric Harpsichord
48. up 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 synchronized work note the condition of the sync component of the master section 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 old days If the module syncing is switched on the LFO will run at 120 BPM 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 f
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