Best Clavinet VSTs (2026): Funk, Soul & Retro Scoring

Arturia's decision to use physical modeling (Phi) instead of sampling for the Clavinet V was a bold move, and it paid off. Samples capture a snapshot, but modeling captures the behavior. When you hammer on a key, you feel the virtual string fighting back. I love the fact that you can virtually 'open the lid' and tweak the pickup alignment. Changing the pickup position by a few millimeters drastically alters the harmonic content, giving you that phasey, nasal bite or a warmer, rounder tone.

The built-in amp simulation is excellent, providing that Fender Twin reverb crunch that is essential for the sound. But the real star is the effects pedalboard. Being able to run the Clavinet through a modeled Cry Baby wah and a flanger before it hits the amp creates those psychedelic textures instantly. It feels alive under your fingers. It’s technical, tweakable, and sits in a mix with an aggressive presence that sampled instruments often lack.

Waves often flies under the radar for virtual instruments, but their Clavinet is a solid, reliable performer. It is sample-based, but deeply so. They captured the mute slider behavior perfectly: that distinctive 'thwack' you get when the strings are partially damped. I use this when I need a classic, no-nonsense funk sound without needing to navigate a complex interface. It loads instantly and sounds like a record right away.

The 'Formant' control is a nice touch, allowing you to shift the character of the sound without changing pitch, almost like a subtle vocal filter. It’s great for getting the keyboard to cut through a dense arrangement of guitars. While it lacks the deep physical customization of the Arturia, it makes up for it in 'mix-readiness'. The low end is tight, the highs are snappy, and the FX chain is functional. It’s a utilitarian tool for the working producer.

Thomas Skarbye (Scarbee) is basically the godfather of vintage keyboard sampling. This library is older now, but it still holds up as one of the most authentic recreations available. Why? Because the sampling is meticulously clean yet full of character. He famously captured the release samples so perfectly that you can hear the sticky 'thud' of the key returning. For staccato funk playing, which is 90% of what you do on a Clavinet, this release behavior is critical.

It includes the 'Pianet' model as well, which is a lovely bonus for softer, bell-like tones. I appreciate that there are no bells and whistles: just a painfully accurate capture of a well-maintained D6. It responds beautifully to velocity, growling when you hit it hard and purring when you play soft. It is the reference point against which all other Clavinets are judged. If you use Kontakt, this is likely already in your library, and you should be using it.

Keyscape is not just an instrument; it's a museum. They didn't just sample a Clavinet; they found the best condition Clavinet C in the world, restored it, and sampled it with obsessively high-end signal chains. The result is a sound that is almost too good. It is rich, full-frequency, and incredibly detailed. When I need a Clavinet to be the solo instrument: naked and exposed in a track: I choose Keyscape. You can hear the wood.

The mechanical noise integration is superb. You can dial in exactly how much pedal noise and key thump you want, which grounds the instrument in reality. It is a massive library and takes a toll on your system resources, but the sonic payoff is huge. It sounds expensive. If you are producing high-definition pop or neo-soul where fidelity is everything, this is the one.

Pianoteq uses acoustic modeling, meaning there are no samples at all. The file size is laughable: about 50MB. But the sound is serious business. Because it generates sound in real-time, the connection between your fingers and the sound is instantaneous. There is no layer switching, no machine-gun effect. It feels incredibly liquid to play. You can modify parameters that would be impossible on a real Clavinet, like changing the string length or the hammer hardness.

I love taking the Clavinet model and morphing it into something else entirely using the morphing features. You can make a Clavinet that sounds like it's made of glass. For sound design, this is a playground. As a pure emulation, some argue it lacks a specific 'grain' that samples have, but for responsiveness and shaping your own unique tone, it is unmatched. It feels like a synthesizer disguised as a keyboard.

If you are a guitarist who sucks at playing keys (no judgment here), EZkeys is your savior. While the Clavinet sound itself is solid: punchy and mix-ready: the real value is the MIDI library. It comes packed with funk and soul grooves played by session pros. You can drag a groove into your timeline, and suddenly you sound like Stevie Wonder. I use this for sketching out ideas constantly.

The sound is polished and processed. It sits in a mix without needing much EQ. It doesn't have the deep editing of Arturia or the fidelity of Keyscape, but it gets the job done quickly. The 'Bandmate' feature, where it listens to your audio and suggests keyboard parts, is surprisingly effective. It's a tool that helps you finish tracks, which is sometimes more valuable than having the 'perfect' tone.

Addictive Keys takes a studio-focused approach. They recorded the Clavinet with multiple microphone perspectives and vintage amps, and the interface lets you mix these mics just like you would on a console. I love blending a gritty, close-mic signal with a roomier, distant mic to create space. It allows you to place the instrument comfortably in a mix without reaching for external plugins.

The loading times are lightning fast, making it great for live use or quick sessions. The built-in effects: tremolo, chorus, phaser: are tuned perfectly for keys. It sounds a bit more 'modern' and hi-fi than the grit of the Scarbee, but for pop and rock tracks where the Clav needs to be shiny and present, it works wonders. It’s a very practical, workable instrument.