A distinctive vintage inspiration. 512 presets. A fresh playground for Jungle, UK Garage, Dubstep and experimental club production.
Some instruments make you want to play a melody. Others make you want to hold a note, move a slider and discover what happens next.
AudioBlast V10F invites you to do both.
Inspired by the Kawai 100F, this monophonic virtual analogue synthesizer brings a hands-on approach to sound shaping into your DAW. Dual envelopes, expressive modulation and resonant filtering meet a modern ARP sequencer, creative randomisation, flexible SUB routing and integrated effects.
With 512 factory presets, V10F gives you plenty of starting points. Where you take them is up to you.
The Kawai 100F: A Different Route into Analogue Synthesis
The story begins in Japan in the late 1970s. Following Kawai’s acquisition of Teisco in 1967, the company introduced the Synthesizer 100F under the Teisco name in 1977. Also known as the S-100F, it was a single-oscillator monophonic synthesizer whose features included oscillator-to-filter modulation—an interesting route beyond straightforward subtractive tones. Read Reverb’s history of early Japanese synthesizers.
That combination is part of the attraction: a focused instrument with room for experimentation. Start with a simple waveform, shape its movement, then explore the interaction between pitch, filter and modulation.
For V10F, that approach became the starting point for an instrument that combines vintage-inspired synthesis with contemporary composition tools.
From Depeche Mode to Soulwax: Documented 100F Connections
The 100F has some notable connections to electronic music.
Vince Clarke and early Depeche Mode: in a May 1982 interview with Electronics & Music Maker, producer Daniel Miller identified the Kawai 100F as part of Clarke’s original equipment, alongside Martin Gore’s Yamaha CS5 and Andy Fletcher’s Moog Prodigy. It places the instrument within the band’s formative synthesizer setup. Read the original interview at mu.
Soulwax: Gearnews documents the Kawai 100F as a recurring instrument in the band’s live setup, highlighting its place among their carefully chosen synthesizers. Explore Soulwax’s equipment.
Nick Littlemore, of PNAU and Empire of the Sun: in a 2020 interview with Happy Mag, Littlemore described owning eight Kawai/Teisco 100Fs. He also explained how he had connected four modified units so he could play chords across the separate monosynths—an inventive use of an instrument designed for one note at a time. Read Nick Littlemore’s studio interview.
These are documented connections to the original hardware. V10F takes inspiration from that instrument and opens a new set of possibilities for your own productions.
Vintage Character for a Broad UK Bass Palette
“UK bass” is useful here as a broad creative reference rather than a single, tightly defined genre. It connects overlapping approaches to rhythm, low frequencies and electronic sound design, with links to UK Garage, Dubstep and other underground forms. Explore the UK bass overview.
V10F offers ways to explore that territory. The following are sound-design starting points: ideas to try with its synthesis engine, sequencer and effects.
Jungle and Drum & Bass: Weight Beneath the Breaks
Build a focused bass patch, shape its envelope around your breakbeat and introduce filter movement where the arrangement needs tension.
Use the SUB oscillator to add weight, then compare its pre- and post-filter positions. Keep the main oscillator restrained for a rounded foundation, or open the filter and add distortion for a more exposed, abrasive phrase.
Short pitch movements and noise-based patches can also become useful one-shots when recorded and resampled in your DAW.
UK Garage and 2-Step: Make Room for the Groove
Try a short envelope, a rounded filter setting and a bass phrase with deliberate gaps.
In UK Garage and 2-Step arrangements, those spaces can give shuffled drums and vocal fragments room to answer. Edit notes, octaves and rests in V10F’s ARP sequencer, then shift or transpose the pattern to explore variations.
For more melodic parts, start with a compact lead or pluck and use a little chorus or delay to place it around the rhythm.
UK Funky and Bass: Percussive, Playful Phrases
Explore short, percussive synth notes that interact with your drums.
A quick envelope can turn a sustained tone into a rhythmic accent. Band-pass filtering can help shape a more focused midrange part, while restrained pitch or filter modulation adds variation.
Use pattern randomisation to suggest a new phrase, then edit the result until it sits naturally against your percussion.
Dubstep and Grime: Pressure, Space and Movement
Start with a strong low-frequency foundation and let the upper character move.
V10F’s LFO, envelopes and audio-rate filter modulation provide different ways to animate a patch. Compare a slow filter sweep with a sharply triggered envelope, then introduce distortion to change its texture.
For sparse Dubstep or Grime arrangements, a few well-placed notes can carry more impact than a constantly busy sequence. Keep the rests and let the sound speak.
Deconstructed Club and Weightless: Leave the Grid Behind
Explore isolated tones, uneven phrases, metallic colours and long effect tails.
Raise the probability of rests, experiment with pattern length and record several variations. Audio-rate filter modulation can introduce more complex timbres, while Phaser, Flanger and Synth Verb offer movement and space.
For Weightless-inspired sketches, try sparse monophonic phrases with long releases and reverb. For Deconstructed Club ideas, resample short gestures and rearrange them around your drums—or around the absence of drums.
Shape the Sound with Dual Envelopes and Four Filter Modes
At the centre of V10F are two envelopes with ADR, AD and AR modes. Adjust the attack and decay to move between clipped percussion, plucked basses, sustained leads and longer evolving sounds.
Choose keyboard or LFO envelope triggering, introduce portamento, and add delayed vibrato when a note needs to develop after its initial attack.
The main filter section offers four responses:
- 24 dB low-pass for focused basses and pronounced filtering.
- 12 dB low-pass for a gentler reduction of upper frequencies.
- Band-pass for concentrated, nasal or narrow-band colours.
- High-pass for lighter tones and low-frequency removal.
An independent high-pass filter adds another shaping stage. Envelope modulation, three LFO waveforms and audio-rate filter modulation expand the range of movement.
A SUB Oscillator with Flexible Routing
The SUB oscillator includes octave adjustment and a choice of position around the main filter.
Place it before the filter to shape it together with the main oscillator. Place it after the filter to retain its contribution independently of the main filter’s cutoff.
That choice lets you explore different balances between bass weight and upper-frequency movement.
Build, Randomise and Develop Your Patterns
Switch between direct playing in MIDI In mode and the integrated ARP mode.
The sequencer supports up to 64 steps and eight patterns, with selectable playback speeds synchronised to your host. Edit notes, octaves and rests, change the pattern length, and use copy, shift and transpose functions to develop an idea.
The eight patterns share the current sound, making them useful for musical variations within a patch.
When you want another direction, randomise notes, scale or pattern length. Root-note, note-range and rest-probability controls help guide the results. Save your sound and its pattern bank together when you find something worth keeping.
Five FX Types, Three Slots and Distortion
V10F includes a separate distortion section and three chainable slots for combining different effects:
- Delay
- Phaser
- Synth Verb
- Chorus
- Flanger
Use a light touch to add depth and motion, or build a more transformed patch with sweeping modulation and spacious tails.
512 Presets to Start Exploring
The full version includes 512 factory presets, covering basses, leads, keys, rhythmic sounds, effects and evolving textures.
Find a sound that works immediately, or use a preset as a starting point for learning the instrument. Change an envelope, try another filter mode, switch the SUB routing or generate a new pattern.
A small adjustment can become the beginning of a different track.
Price, Formats and Free Demo
AudioBlast V10F is priced at €129.
- Windows 8 or later: VST2, VST3 and AAX.
- macOS 10.15 Catalina or later: VST2, VST3, Audio Unit and AAX.
- A compatible host application is required.
The free demo includes 32 presets, with audio output stopping after 51 minutes of use.
Watch the teaser, explore the demo and find your own direction—from vintage-inspired leads to deep bass phrases and experimental club textures.
