Ok, so I had no idea about Buchla before I purchased the Arturia Buchla Easel. I was completely mystified by this synth. It doesn't behave -- but kinda sorta does but not really -- like a traditional subtractive synthesizer which is cool but is also not cool. I didn't really get it but I kept going back to the Easel, determined to learn more about it, and I'm glad I did! I even shelled out the money to buy the real deal!

Like I said before, it doesn't behave like a traditional subtractive synthesizer. The Easel has a different architecture and therefore different approach to synthesis which encourages you to expand your sonic palette.

First thing I can say is, it was odd not being able to do a filter sweep. I like filter sweeps. It's still weird I can't do a high-res filter sweep. You can, however, send the complex oscillator's signal to the gate 2 source and kinda get something of a filter sweep. It's not 1:1 but it does sound interesting and have some interesting phase cancelling effects.

My favorite thing to do right now is to send the complex oscillator signal to gate 2 and patch the pulser to gate 1 with a decay about the same as the envelope generator and then set the attack and decay high for the envelope generator and connect the EG to gate 2. That's how I get those sweeps. I won't say filter sweeps, I'm not sure what to call it, phase sweeps? No idea! With a high attack and decay for the EG I like to send it to the timbre control which is sorta like resonance (but again, not really) and get that delicious wavefolding sweep. If you're curious about getting a quasi-didgeridoo sound I've attached my patch for that. It's just for fun!

I will say that the Easel is really open ended. It has a lot of patch options and that open concept encourages experimentation. You can use the pulser as an LFO, envelope generator, and clock. That's one module! Most modules have uses for many different things. You could use the EG as an LFO in self cycle mode and then use the pulser to trigger the gates for the complex and mod oscillators so you could have the EG modulate the timbre control or the frequency control of the mod osc. You can have the sequencer control the pitch of the oscillators or the timbre or even modulate the decay, sustain, or release controls. There's a dizzying amount of control and freedom.

It can be really overwhelming but you can get some interesting sounds as a result. (I will say that for anyone curious that the pulser is a sawtooth wave). This is the Easel's greatest strength but also its greatest weakness. It's relatively straightforward in design but the open-ended nature of the instrument things can become overwhelming very quickly. Well, for me anyway. I try to just limit myself to some sort of objective, work toward that, and if I like it, experiment further with the sound. Again, this is my workflow, other's will have their own workflow which is what I love about my Easel. It's very open.

I came into this a complete novice and I've had the Easel for about 10 months and I still feel like a novice. Again, this is a good thing and a bad thing. My Mother-32 I have pegged, more or less. I know what sounds I can get from it and I love that -- and as an aside, that isn't a fair comparison, they're different instruments with different objectives (and prices!) but I digress -- but sometimes I want more from my Moog. Again, not a fair comparison, but I just wanted to show the differences in approach and outcomes with 2 different instruments.

I can't really say who this synth is for. I think it is great for more avant-garde to straight up experimental music but I do feel it is underutilized as a synth for "traditional" music like pop music. I do feel it could be used to make some great synth pop music. I've noticed that with some people -- not everyone, not trying to generalize -- hold up Buchla as something sacred and holy, but this to me is silly. This isn't some sacred instrument, it's an instrument. It shouldn't be limited to the more esoteric corners of the music world. I do feel it can be used by anyone for its huge variety of sounds and open-ended architecture, but I won't lie, the instrument is also built around "being alive" and for you, the composer/operator/musician/whatever to allow chance to enter into your music/compositions. Man, so much contradiction! Sorry!

It's really weird, but I wouldn't change anything about it. I love it.

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The Easel (especially when paired with the LEM218) is a machine that turns voltage into happiness. It rewards exploration with immensely satisfying experiences. The Easel is highly performance oriented, and shines when played, not sequenced externally.

Don't be fooled: Buchla isn't just for experimental noise. This synth makes beautiful, organic sounds, and while the East / West dichotomy's real, people overstate it. If you know a Moog synth, you can learn this one in little time.

I'm still learning but this a great system and solid build. My only complain is the purple jacks. Since they don't make the Sensel Morph anymore, finding an alternate touch capacitive input is a challenge. Seems like that feature shouldn't be promoted since the Morph has morphed out of existence. Other than that, I find this system fun to experiment with with sound design and just making some unique sounds. It's unpredictable, but in a good way. Musical sounds are also in there but a bit harder to tame if you like things in perfect tune. I paired mine with the H9 for more effects, as is seems many Buchla owners do.