Buchla Easel V

The Low Pass Gate, which is one of the most important parts of Music Easel V, is very rare to find in hardware synthesizer except in the original Buchla system or in Eurorack format. It's even more unusual in the software world. By design, the Music Easel acts weirdly, and that's why it's a very unique synthesizer, I think this weirdness translates well in the virtual version.

I was mainly focused on the complex Osc; the AM and folding section are very characteristic and it's a pleasure to have access to this kind of timbre in the software world. Then I adjusted to add more time on the modulation and added effects to the original one, this allows to go further than the original device.

For me, the original Music Easel is all about the Oscillator section, the Modulator and Main oscillators interplay so aggressively, antagonistically and at times in harmony to create a sonic palette that can go in many directions with the slightest turn of the knob. This possibility for ‘happy accidents’ in the studio is something that is really key to my creativity and exploration into sound. Presets and predictability are certainly important, but from first listen I’ve been impressed with the ability of the Arturia Engineers to capture that classic sound, it could not have been easy.

My approach for the Buchla Easel V was to chase after many of the patches I’ve explored over the years with the hardware. It was fun to replicate them, compare and then take them to a whole new world. With the extra capabilities I found myself going into new places sonically, because of the ease of patching faster in the software, leading me to go back to the hardware as well.

The original Music Easel is a very cool sonic ecosystem. It both shines at making both simple, soft tones and complex atonal madness thanks to the incredible AM and FM possibilities. It is full of little imperfections and approximations that make it a very organic instrument overall.

I knew that if I spent too long making sounds, in Buchla Easel V, I would lose myself forever. I focused mainly on melodic sequences and the duophonic abilities of the original instrument.

I think the low-pass gate design is what sets it apart from the more traditional synthesizers with standard VCF architecture. It can be quite disturbing when you’re used to classic synths, but then it can quickly become an advantage, because you are forced to experiment. That's always a good thing, and the same can be said about the Buchla Easel V. The complex oscillator is probably my favorite feature, it can produce such interesting and organic sounds.

I think a lot of people are using the original for bleepy, metallic or atonal stuff, I thought I would also try to make more traditional analog sounds with it. You can do pretty fat bass sounds with the oscillators when used in a more traditional way. With every synthesizers I own, the first thing I do is to create patches or sequences that remind me of my favorite bands and tracks, and that’s a deliberate method to get inspired.

A totaly unique aspect of the Buchla V has to be the pulse sequencer. I really love the fact that you can use it as a second LFO, or as a clock source.

One of the things I love about the Buchla Easel V is that the new Gravity feature lets me add hypnotic modulations, I found that really useful for adding life and animation to the sounds that I created.

It is responsive, easy to patch and navigate.

I love the original Easel for Don Buchla’s brilliant design concept of a true, performable instrument that is non-proscriptive, that is, it is only limited by the user's imagination. The Buchla Easel V embodies that concept especially when paired with a controller. I was surprised and pleased to see the new on board features: FX, extra function generator and 32 step polyphonic sequencer. Oh, and as teacher being able to see and manipulate all these parameters on screen is invaluable!

I purposefully explored simple patches that I had made for the BEMI hardware Easel to compare and contrast. I didn’t use many of the extra features. My hope was to offer accessible patches that would serve as a springboard for the user’s creativity and imagination.

Its tone really conjurs feelings of the 60s and 70s

One of the first strong points of the Music Easel is the sound! It really stands out from all that we used to see in virtual instrument and it will perfectly complement the rest of the instruments in V Collection. Its tone really conjurs feelings of the 60s and 70s, and reminds me of the sound effects that we hear in the piece "Psyche Rock" by Pierre Henry. The visual aspect and ergonomics really help you to become inspired, and the simulation of the spring reverb sounds incredible. I also really like the Gravity section, which is well in the spirit of the instrument.

In my work of sound design, I create a lot of FX sounds, a lot of sequences, and bass sounds. Indeed, between its Sequential Voltage Source, the big sound possibilities of the modulation oscillator and complex oscillator, the semi modular environment, and Gravity, the music Easel offers a lot of possibilities.

I’m a big fan of Buchla products and a happy owner of a little Buchla modular system. The sound of Buchla is like no other and well captured with the Buchla Easel V. The additional modulation possibilities in the Buchla Easel V are great and allow creating innovative sounds!

Working with Buchla is always a kind of adventure. Doing sound design was mainly driven by trying out the original and new ‘software only’ features of the Easel V.