Starsky Carr and the Kawai 100F: A Synth with Punk Attitude

A Blast from the Past

Back in the day, when synths had more in common with punk gigs than modern sleek shows, the Kawai 100F emerged on the scene in 1977. Starsky Carr delves into this obscure piece of synthesis history, mentioning its origin as the Teisco S100F before the rebranding gig, which even involved the likes of Vince Clarke. This synth has spent more time in a loft than on a stage, with Starsky revealing that his own unit was rescued from years of attic solitude for a live performance necessity.

"It just smacked you in the face, so this has stayed in the studio ever since."

© Screenshot/Quote: Starskycarr (YouTube)

Quirky Little Number

The Kawai 100F is less a synth and more a peculiar character in the synth world. Starsky highlights its unusual setup with a single VCO, high- and low-pass filters, and a few envelopes that turn it into a pseudo-modular system. The synth shouts loud with its raw, rich tones that slice through a mix like a hot knife through butter. Starsky demonstrates its modulation magic, turning simple waveforms into complex audio treks. It’s a testament to how even with scant features, you can rock out some massive sounds, especially with a filter that feels more like an additional oscillator. And in true Starsky style, the showcase is both educational and laden with personal anecdotes that bring the gear to life.

Modulation Madness

One would think this synth had an identity crisis with the modulation options it has on tap. Starsky experiments with the unique FM tones achievable thanks to the clever modulation routing. You can drive the filter into audio-rate self-oscillation, which feels more like art than science. But don’t be fooled: these quirky sounds might be difficult to tune live, but they are bursting with character. Exploration is key, and you’re likely to stumble upon sonic gold with this cheeky beast.

Envelope Adventures and LFO Trickery

"It's funky, isn't it?"

© Screenshot/Quote: Starskycarr (YouTube)

The envelopes on the 100F aren’t playing by the rules, offering a variety of configurations that behave kind of like ADSR outliers. Starsky gives them a run, showcasing their odd capabilities, turning simple sequences into full-on theatre. And then there’s the LFO – a trickster running at 50Hz that feels less like modulation and more like a wild punk drummer with a flair for the unexpected. He even compares it to a sequencer. The joy comes not from strict musicality, but from discovery and wonder, reminding us that sometimes the best gigs are the ones where things get a bit out of hand. “It’s funky, isn’t it?” Starsky remarks, which sums up the experience of handling this unpredictable instrument.

Modern Counterparts and Value Proposition

While the Kawai 100F has its charms, it’s not free from the troubles of ageing analog gear. If the thought of vintage hardware gives you the jitters, Starsky suggests checking out the PWM Malevolent or the Arturia Minibrute 2. Both of these modern marvels channel that raw, industrial sound and offer more reliability and expanded capabilities. Starsky respects the 100F for what it offers in sheer attitude, but acknowledges the practical aspects of newer gear, especially when a vintage unit might have you swearing more than playing if repairs are needed.

Final Thoughts

Starsky signs off with a nod to the nostalgic magic of the Kawai 100F. It’s a synth that refuses to be just a piece of gear; it demands to be part of the band, a synth with soul. For those who can embrace its eccentricities and occasional hiccups, it’s a rewarding partner in crime. Even though it’s a rare find these days and prices are climbing, Starsky firmly believes that its unique voice and mischievous charm are worth it for any serious collector or synth enthusiast.