• Straight from the imagination of synthwave legend Starcadian comes this incredible sound bank for Analog Lab. The mysterious musician behind the glowing metal mask is a long-time user of Arturia software instruments, and their future-retro sounds have been at the forefront of his greatest hits.
• Buchla Easel V faithfully reproduces Buchla’s Music Easel that helped define West Coast synthesis’ focus on experimentation and breaking musical norms. Arturia applied their award-winning TAE modeling technology from the front panel to the resistors to capture it all with incredible realism.

For your consideration: a sound exploration classic appears on the computer screen, with all the capabilities of the original and even more possibilities.

by Warren Burt, Jan. 2018

Since the death of Donald Buchla, software emulations of his modules and systems have become available. Softube released an authorized copy of the 259e Twisted Waveform Generator a couple of months ago ( https://soundbytesmag.net/review-new-modular-expansions-softube/ ), and a number of the plugins for VCVRack.com feature emulations of some classic Buchla modules. Now Arturia have joined the party with the Buchla Easel V, an emulation of the classic Buchla Music Easel synthesizer. The Music Easel was a small monophonic semi-modular synthesizer where connections between modules could be made with a small, but elegant, patchbay, and an array of switches selected control sources for modules and output routings, making the synthesizer much more flexible than many other small systems.

Buchla Easel Low Pass Gate Filter. VST 2.4, VST 3, AAX, Audio Unit (64-bit DAWs only) Try Pigments 3 free for 3 days Start your free trial. A coveted dual oscillator module now available for Softube Modular, Buchla 259e Twisted Waveform Generator is the first-ever officially licensed plug-in version of a Buchla product. While the unit can be used for traditional synth patches, its unusual inner workings makes Buchla 259e excel at metallic, cold, harsh, digital and screeching sounds.

A synthesizer dichotomy has arisen in the past couple of years – “East Coast Synthesis” vs “West Coast Synthesis.” East Coast refers to Moog-type subtractive systems, and West Coast refers to systems with Vactrol-driven VCF-VCAs, and waveshapers, among other modules, such as Buchla and Serge systems. As someone who was around during those days (the late 60s, the 70s and the 80s), this dichotomy is news to me. I used all of these synthesizers, and then some, and what seemed more important to us at the time was simply using each machine for its unique capabilities. (This historical-term-as-irrelevancy has been around for a long time – any composer from between 1600 and 1750 would be very offended if you called their music “Baroque,” Debussy, Ravel and Satie detested the term “Impressionist,” and Terry Riley, Steve Reich and Philip Glass all reject the term “minimalist” to describe their music.)

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But advertising is its own language, which often has little relationship to any idea of historical truth. That being said, Don Buchla’s designs were unique, and he was continually interested in making systems which furthered sonic exploration, rather than commercial acceptability. I remember working with the Buchla system 100 – we had a system at the University of California, San Diego that had two or three of his touch-sensitive keyboards which were marvellous and flexible devices which didn’t function like traditional keyboards, but which opened up lots of possibilities for finger-based sound control. In the 90s, I had one of his Lightning controllers, in which infra-red light generating rings were worn on the hands (or affixed to other parts of the body) which triggered off a whole variety of MIDI signals, making motion-control of MIDI synths and samplers a practical reality for the travelling gigging musician.

The Music Easel was one of these exploration-oriented systems. It encouraged experimentation, and offered just enough resources, given its compact size, to make a huge variety of sounds. Obviously, if you’re interested in a standard palette of commercially usable sounds, you needn’t look here. But if you’re interested in a system that you can explore, and grow with, then you’ll want to have a serious look at the Arturia Easel V, seen just below (click on image for more detail).

A quick look at the faceplate of the machine shows its capabilities. Across the top strip are a number of controls which access a large variety of presets that come with the machine, or allow you to save your own. As well, there is a size control here to resize the GUI to match the abilities of your screen. Two arrows at the right top corner give you access to a series of new control signal generators Arturia has added to the machine, which increase its abilities considerably (more on these later). Then a MIDI jack symbol allows you to set up MIDI automation control of every knob and switch on the front panel.

Left to right in the main body of the instrument are a series of modules. These are divided into a series of switches at the top, with control sliders below them, and a patch panel below that. At the far right of this section is the output section, which has a number of controls for sound production and processing. Below this occupying the entire bottom half of the instrument is the keyboard / arpeggiator / system clock / preset voltage source, a very complex module with a massive amount of capabilities. The original Buchla keyboard was touch-sensitive – that is, a voltage was given out based on how much of the key your finger was covering. This keyboard doesn’t do that, even on touch sensitive screens, but if you have a keyboard controller with aftertouch (mono or poly), you can access that aftertouch signals through the purple jacks in the patchbay. At the very bottom of the instrument is a smaller panel with polyphony controls (the machine can be set up to be up to four voiced polyphonic), a MIDI channel selector, a Panic (All Notes Off) button and a CPU meter. This IS a rather CPU hungry beast. I ran the machine on two systems to test. A smaller computer, with an i3 Processor, Win10, at 3 voices, had 80% CPU usage. A slightly larger computer, with an i5 Processor, Win 8.1, at 4 voices, had 80% CPU usage. Four voices on the i3 machine occasionally overdrove the machine, but three voices was just fine. This picture shows the keyboard with the polyphony and other controls at its lower right.

Left to right, the modules are:

– A five step sequencer, which can be controlled from a number of sources and can be set to a number of rhythmic patterns.

– An envelope generator, likewise controlled from a number of sources, and which has several modes of operation with different kinds of sustain, etc. It can function as an envelope generator or as an LFO.

– A pulser, which can be used as an auxiliary LFO, or an AR envelope generator, or a rhythm pulse source for other modules. This shows the flexibility of the design very well – each module can usually do double duty for a number of functions.

– A modulation oscillator, which can be controlled from many sources and which can be used to modulate the main oscillator, or can be ring modulated itself with an external signal. This oscillator can also be routed to the output to be heard as a separate sound source, if desired. It can be controlled by an external MIDI keyboard, or the MIDI keyboard can be turned off and internal control voltages can control the pitch in any desired stretch or compression of the pitch spread.

– A complex oscillator, which has a basic sine wave at one end of its timbre control, and one of three waveforms at the other end. This timbre change is produced by a very elegant waveshaper. Again, an external MIDI keyboard, or internal signals can control the pitch.

– A dual lo-pass gate, which can function as a low pass filter, or as a VCA, or a combination of both. This has a number of routing possibilities as well.

– An output panel, with a number of auxiliary functions, such as a control voltage output from the modulating oscillator, an envelope follower output from the external sound input, volume controls for both gates, a reverb unit, a master volume control, a control voltage inverter, and a switch to control what goes into the PreAmp on the external input – the external signal, noise, or feedback from the master volume output.

– There’s also a random voltage source, which can be controlled from several sources, and which produces different random signals from each of its four white output jacks in the patch panel.

The patch panel itself is very cleverly designed. It’s color-coded: black jacks are control inputs, all the other colored jacks are control signal outputs. They match the color of the controls of the modules. So a blue jack is an output from the sequencer, an orange jack is the envelope generator output, a yellow jack is the pulser output, purple is aftertouch output, and white are the outputs from the random generator. Having all the jacks together in one place makes for a very neat and well organized patch bay. A single output can be routed to three inputs. But only one jack at a time can go to an input.

Below that is the keyboard, which has a number of controls – a clock output, which can sync to host, or run freely; a portamento control; an arpeggiator with a number of features, and a preset voltage source which can be added to the output of the keyboard, for transpositions or other uses. The keys can input into the oscillators with the keyboard on/off switches on the oscillators, or you can take a key follow output jack in the MIDI connections panel and direct the keyboard output to any control input you want.

Accessed by the two downward arrows control at the top right is a page of control generators that were not included in the original machine. There are four pages here, called “Left Hand,” “Right Hand,” “Gravity,” and “Effects.” “Left Hand” allows you to set up five different control patterns (by drawing with the mouse) which each can have different speeds and different control ranges set. Right Hand is a polyphonic step sequencer. Gravity is a very clever XY game-like controller, which allows you to set up a pattern of movement on an XY grid and use the movement of the puck as a source of controls for different parameters. Any parameter on any of the modules can be controlled by the Left Hand and Gravity generators, with any control range set. The final Effects page, gives two simultaneous effects, one for each of the two output channels. The Gravity controller is shown in the first picture below; a typical Left Hand drawn pattern is shown in the picture below that.

Combining all these controls is what this synthesizer is all about. I’ve used it as a VST plugin in both AudioMulch and Plogue Bidule; its performance has been completely smooth, and it has integrated as part of a larger system (I was using GRM Tools and Melda effects) absolutely flawlessly. Trying to get very clever control patterns to produce constantly changing appealing sounds is the name of the game here. Since getting this machine, I’ve been spending a lot of time patching it, assembling different kinds of control setups with it. I’ve been using a Korg nanoKEY Studio controller, which has velocity sensitive keys and a number of knobs and an XY controller, and I’ve barely scratched the surface of the kinds of complex patches that can be set up with both external MIDI controllers as well as the internal patching controls. The Arturia Buchla Easel V is a very well put together synthesizer, which has the capabilities of the original synth, as well as a whole set of new controls. I’ve had a lot of fun operating it, and if you’re the type of person who enjoys exploring a music making system with great power and flexibility, I think you will have a lot of fun as well. The sound exploration legacy of Donald Buchla lives on in this very cleverly put-together machine.

Price as part of V Collection $499 USD ($399 on sale) (Upgrade from V Collection 5 $199 USD, which includes Buchla, CMI, DX7 and Clavinet emulations.)

Price on its own: Buchla Easel V $199 USD ($99 on sale) (Sweetwater price – $99 on sale, $129 regular)

More information here:

Bit Depth:64-bit

Format: VST2.4, VST3, AAX, AU, Standalone

Buchla Easel Free Vst Software

Hardware Requirements – Mac: 2.5GHz processor or higher, 4GB RAM minimum, 12 GB free drive space

Hardware Requirements – PC: 2.5GHz processor or higher, 4GB RAM minimum, 12 GB free drive space

Buchla Easel Free Vst Free

OS Requirements – Mac: OS X 10.10 or later

OS Requirements – PC: Windows 7 SP1 or later

My own testing: i3 Processor, Win10, 3 voices, 80% CPU usage; i5 Processor, Win 8.1, 4 voices, 80% CPU usage.

Year / Date of Issue: 01.2021
Version: 2021.1
Developer: Arturia
Developer site: arturia
Format: STANDALONE, VSTi, VSTi3, AAX
Bit depth: 64bit
Tabletka: cured
System requirements: Win 7+ PC: 4 GB RAM; 2.5 GHz 10.10+: 4 GB RAM; 2.5 GHz CPU.
OpenGL 2.0 compatible GPU

Description: Arturia – Synth Collection 2021.1 :

ARP 2600 V3 v3.7.1
Buchla Easel V v1.7.1
CMI V v1.7.1
CS-80 V3 v3.8.1
CZ V v13.1
DX7 V v1.7.1
Emulator II V v1.1.1
Jun-6 V v1.0.2
Jup-8 V4 v4.1.1
Matrix-12 V2 v2.7.1
Mini V3 v3.7.1
Modular V3 v3.7.1
OB-Xa V v1.1.1
Pigments v2.2.1
Prophet V3 v3.7.1
SEM V2 v2.7.1
Synclavier V v2.7.1
Synthi V v1.3.1
Vocoder V v1.0.1

Plugin Description :

The ARP 2600 is a truly versatile sound creation tool that still takes its place in modern music. With a unique combination of semi-modular architecture and associated routing, the instrument became one of the most versatile synthesizers of the 1970s.

Buchla Easel Arturia FX Collection is the reincarnation of the iconic instrument that helped define the experimental modular synthesis of the West Coast movement in the early 70s. Our enhancements give the instrument significant enhanced capabilities for sound design and avant-garde music.

CMI is the reincarnation of the first commercially available digital separator system in music history – the sonic powerhouse behind many of the early mega hits of the MTV era. We even went the extra mile and added new creative possibilities that weren’t available in those days.

CS-80 – The virtual model can do everything the original could do, but in addition it has a modulation matrix and a multi-layer Multi mode, which significantly expands the potential of the instrument. As in all virtual instruments of Arturia, this model works with “pure” oscillators (no aliasing), that is, they do not have an internal “reflection” of frequencies from the upper limit of the range, leading to the appearance of parasitic sound tones.

CZ – Models the Casio CZ-101 and CZ-1000, two iconic synths behind many 80s pop hits. It adds a ton of new features that make it a tool for ages.

DX7 – In 1983, DX7 changed the world of music. Today, the DX7 V gives you the opportunity to change it again.
Nothing says 80s better than the DX7 sound. Our authentic synthesizer gives you all the same FM technology and sounds that an instrument that has taken a revered place in the history of keyboards and modern music gave you.

Jup-8 – The Roland Jupiter 8 synthesizer is perhaps the least intricate. Immediately after appearing on the music market in the early 80s, it instantly gained worldwide recognition and, despite its age, is still popular today.

Matrix-12 – Times are changing, and now all the capabilities of the original instrument have been transferred by Arturia engineers to the virtual Matrix-12 V. And, according to the already established tradition, some additional functions have been added to them, which were not in the original.

Mini – the instrument is an “extended”, as is customary in the Arturia company, a copy of the well-known Minimoog D.

Modular – This huge modular system showed that electronics can be musical, which is why Arturia – Synth Collection 2021.1 is the catalyst for every synthesizer we see today. We have revived the uplifting modular synthesizer that has dominated the world of music since the 1960s.

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OB-Xa – Recreates exactly the juicy sound of the Oberheim OB-Xa. An instrument that has been lacking in the collection of the French company for a long time. The synthesizer is completely ready to create punchy bass, chic spatial pads and lush parts of electronic winds. The company notes that the OB-Xa V has been enhanced with a number of features that were not present in the original. So the synthesizer received the Stereo Spread function, a built-in arpeggiator and more LFOs.

Pigments – A very powerful wavetable virtual analog synthesizer – this is Pigments and will change the way you make music. Turning the spark of imagination into sound is the most important, exciting part of making music. Pigments makes this process natural, intuitive and vibrant.

Prophet – The Prophet V virtual synthesizer contains two instruments: Prophet 5 and Prophet VS. Separate screen interfaces are also prepared for accessing them.

SEM – software emulation of one of the most famous synthesizers of the Oberheim brand – SEM. The virtual model perfectly combines warm, musical tones accurately reproduced by TAE technology with a full range of innovative features

Synclavier – The sound-generating possibilities of a virtual instrument are almost endless, but of course there is a lot of work to be done to implement them. Some idea of ​​the potential of the instrument can be drawn from the factory presets, of which a huge number have been recorded, but they do not cover the entire spectrum of its capabilities. Some presets show just complex chains of samples, with a multifaceted and continuous “sweep” of the timbre.

Synthi – Synthi V fully reflects the spirit of a unique analog synthesizer that appeared in London in the 70s to inspire the entire developing world of electronic music, and has new superpowers that inspire our world today, and your music will sound differently. Get now

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