cloning a Buchla music easel with Euro modules

intellijel · Post by **intellijel** » Mon Aug 24, 2009 9:38 am

Is it possible to create equivalent synthesis functionality of a Buchla Easel with Euro modules (except for the touch keyboard)?

I am really intrigued by how the controls in Buchla stuff seem to result in really dramatic timbre changes and that a small amount of stuff can produce a wide range of complex sounds. I am little bored with subtractive synthesis right now. I have been trying to experiment with my Doepfer A-137 (and lot's of modulation) and not using filters as a start.

authorless · Post by **authorless** » Mon Aug 24, 2009 9:55 am

the five step sequencer/trigger would be tricky. envelope is a single asd/ahd. pulser could be a voltage controlled squarewave osc. i am not sure yet, but i am thinking the hertz donut may be able to replicate someof the function of the osc section. plan b dual timbral gate for the two lopass gates. the four uncorrelated random voltage sources may be tricky. an external input. an inverter. personally i wouldn't even try to bother with the patch storage reverb, though the tank it is is very small and sounds very much like a spring reverb.

so maybe with a little diy it could work out.

i doubt, however that it would sounds as good... swoon. and part of the charm of it for me (well any of the buchla stuff, really) is the touch keyboard. one of these days i will get around to making one for my euro.

the easel is still a subtractive synth.
i will try to expound on this when i get home from work. something i have been thinking about myself lately.

ndkent · Post by **ndkent** » Mon Aug 24, 2009 12:46 pm

I'd think the touch controller is the the most crucial missing piece in Euroland.

> the easel is still a subtractive synth.

It's not a cut and dry subtractive synth. You do have a pair of LPGs, but you also have FM and a variable waveshape as a major sources of tone color creation.

worker8 · Post by **worker8** » Mon Aug 24, 2009 4:21 pm

Many people know how to make a touch keyboard. Strange to see there is not a single one in eurorack format. Same as the sh-101 sequencer.

blungo2 · Post by **blungo2** » Mon Aug 24, 2009 7:35 pm

I find this a very interesting thread. I'm always impressed by how knowledgble
some wigglers are. I wish i had something to contribute to this thread, but i'm just learning.

authorless · Post by **authorless** » Mon Aug 24, 2009 9:49 pm

a fair deal of that functionality should be reproducible in euro. except you may have to compromise on the osc. it really is fairly straight forward. but i think a really big part of the charm of it is the layout. it really does beg to be played and tweaked.

emergencyofstate · Post by **emergencyofstate** » Mon Aug 24, 2009 9:54 pm

i would LOVE to see sliders in euro modules.

worker8 · Post by **worker8** » Mon Aug 24, 2009 11:11 pm

Sliders are fine when the unit is in horizontal position (like a sh-101). Else, I don't think they are easy to use (ex : Roland System-100m).

alt-mode · Post by **alt-mode** » Mon Aug 24, 2009 11:14 pm

There are lots of things that combine to make the Easel such a special instrument. It is a very compact combination of a number of modules and I find that many of its limitations are what are most valuable.

Some things that will be hard to find in Euro format:

1. a 5-step sequencer that can be switched to quickly trigger from the keyboard or pulser. It can be switched between 3 and 5 steps.

2. The complex oscillator. Even other Buchla oscillators aren't the same as the oscillator in the Easel with its timbre variations. It is certainly part of the unique sound and I don't know if you can find a duplicate.

3. The modulation oscillator integrated with the complex oscillator that has a VCA or two for controlling modulation inputs.

4. The pulser. Fairly easy to duplicate but probably isn't switchable between keyboard, sequencer, and self.

5. The arrangement of the CV jacks so that many can be quickly patched with shorting dual banana plugs. This cuts down on patch cable clutter.

Notice I didn't say anything about the lowpass gates because this is the one item that has been duplicated in many implementations.

The package of the Easel makes it special too. It is a small, compact, system that is easy to get around quickly, once you grasp a few things. It is really an instrument and not just a collection of modules (as has been discussed in other threads).

wetterberg · Post by **wetterberg** » Tue Aug 25, 2009 2:07 am

there's a lovely chap on the sdiy mailing list who's cloning the Music Easel - he's already done the bal.mod. and the timbre-circuit of the oscillator.

Randaleem · Post by **Randaleem** » Tue Aug 25, 2009 2:25 am

worker8 wrote:Many people know how to make a touch keyboard. Strange to see there is not a single one in eurorack format. Same as the sh-101 sequencer.

Hi worker8,

Both of these topics have been addressed in other threads. Suffice to say that before this year's end (Probably this Fall), both will be offered for sale from stock. For the touch keyboard at least, likely by more than one mfr. Many have noticed the lack, and are working on (or already have) touch keyboards. For me, Cases first! Funny how a 4+3 ATA case seems perfectly suited for a 3U touch seq and 4U ME panels... probably just a coincidence? ;-) Kind regards, Randal

Randaleem · Post by **Randaleem** » Tue Aug 25, 2009 2:41 am

worker8 wrote:Sliders are fine when the unit is in horizontal position (like a sh-101). Else, I don't think they are easy to use (ex : Roland System-100m).

Hi again worker8,
Ken Stone and I were discussing this recently. Either way, you have to plant a finger to the panel to create a reference point/fulcrum/pivot for accuracy in making small relative adjustments. With a knob, this fulcrum/pivot is inherent. But this is outweighed by the graphical qualities of sliders, which trumps knobs for certain types of parameters! Not to mention the conservation of <typically> horizontal space. Had Don used knobs on the ME, we might have only a 2 step seq!

Kind regards, Randal (break over, back to making cases!)

D/A A/D · Post by **D/A A/D** » Tue Aug 25, 2009 12:30 pm

Here is the closest I could get it in 6u:

felix · Post by **felix** » Tue Aug 25, 2009 5:01 pm

I thought I'd chime in, since I think about this topic *a lot*.

I don't think you can clone it with a collection of euro modules. Based on only internet study and multiple reads of the original manual, the Easel strikes me as something that exists more as the sum of its parts. I think even if you did get a 1:1 functionality collection of euro modules, you won't have the same result (to say nothing of "the sound") of the Easel.

So, for me anyway, I've come to the conclusion of not trying to clone an Easel but simply use the basic principles and apparent ideas behind the collection of functions that make up the Easel to influence a collection of modules that I find most interesting.

I would definitely agree that the missing touchplate control surface in most of the modular formats is a major part of making something Easel-like. I'm really looking forward to seeing what some people are working on (I've been hearing whispers of one from different parties for a little while now) and even see how the BugBrand CL1 evolves and potentially makes it to different form-factors/formats).

Another thing that's missing is a nice output mixer, a "system interface" as Buchla tends to call them. The 227e, while large, is like the perfect output mixer, IMO.

This is a great thread - looking forward to more thoughts from everyone.

intellijel · Post by **intellijel** » Tue Aug 25, 2009 5:50 pm

I think this thread ties into the "Westcoast" thread as well.

After re-watching some Easel and 200e demos I am inspired to see if I can rethink how I use my modular. I basically never use my system as a monosynth (as I was expecting to do), it has definitely become a tool for sound design and rhtyhmic bleeps/bloops.

The Easel especially piqued my interest since it was so compact and seemingly capable of an exotic range of timbres that were musically interesting (not just harsh noises)

I have 9U filled right now and I am ready to trade out some modules and replace them with things that are going to be more versatile and interesting. I want to keep things at 9u max and learn to play it like an instrument (learn it inside and out). I think it is too easy to just get another case and continue to fill with modules! (although very tempting

)

Hi5 · Post by **Hi5** » Tue Aug 25, 2009 5:51 pm

felix wrote: I've come to the conclusion of not trying to clone an Easel but simply use the basic principles and apparent ideas behind the collection ...

this is probably the best approach here as it has been stated there really is no way to get close to the sound anyway. Since starting to play out with my modular rig instead recently, the concern for compact but yet functionally rich has become great. Having a wall of modular is great but when you play out this is not something you can/want to haul out all the time. Try taking public transit! Something like the easel is a great example to work from. What I enjoy about it is that it is constructed as a complex dynamic voice. Sure you could rig multiple voices at once with things running on their own but being such a compact device it really begs to be a performed instrument.

Actually I was able to see an easel in action last night in chicago at a show at the empty bottle. It was not utilized to anywhere near its full potential but man did I really want to follow the owner home and take him out in a dark alley

felix · Post by **felix** » Tue Aug 25, 2009 6:09 pm

alt-mode wrote:I find that many of its limitations are what are most valuable.

This is probably the trickiest thing of "rolling your own" type of configuration. At least, this is what I really struggle with. I find limitations incredibly inspiring creatively, but ironically it's really difficult for me to define my own limitations and be equally as happy (or as creative).

This is one aspect of these types of systems that makes me (and I'm sure others) really respect the designers. They seem to know exactly what isn't necessary and what is vitally important.

sascha.victoria · Post by **sascha.victoria** » Tue Aug 25, 2009 8:47 pm

I agree that you can't recreate the Easel in Euro or any format for that matter. Its all about the parts, how they're configured, and the interface. This is actually the problem I came to realize with my Euro system. In a way there were no limitations and I didn't see an end to the fetish collection mentality of it either.

Sure there are West Coast inspired Euro modules out there but they don't interact in the same way because its not a "system" the way Buchla or Serge are / were made. A few months back I took a chance on a Serge Animal and I love it. I just sold my 12 RU of Euro and placed an order for the CV2. A TKB will be closely following on its heals. Some people don't like that you can't get custom Serge panels anymore. If you take the time to really study the panels you see that they are insanely well balanced. As a result the people that use them love them.

If someone clones the Easel I would definitely be interested in buying one.

felix · Post by **felix** » Wed Aug 26, 2009 12:54 am

sascha.victoria wrote:If someone clones the Easel I would definitely be interested in buying one.

I'd sell a kidney.

worker8 · Post by **worker8** » Wed Aug 26, 2009 1:07 am

felix wrote:So, for me anyway, I've come to the conclusion of not trying to clone an Easel but simply use the basic principles and apparent ideas behind the collection of functions that make up the Easel to influence a collection of modules that I find most interesting.

Looking at expensive, rare synth is not only a gear porn addiction. It's also inspirational.

worker8 · Post by **worker8** » Wed Aug 26, 2009 1:27 am

About limitation. I made a track once with only one synth : the kraftzwerg. Drums, bass, even pads, recording 7 or 8 tracks one after another.

That's funny from time to time. But when you want to be efficient, it's a different matter.

I'd like to keep my eurorack packed in two P6 cases. But I'm already removing some modules to make room for new ones. Next, I think I'll remove the sequencer (A-155+A154).

My wish is to have one effect row (delay frequency shifter phase shifter spring), and three monosynth (one fm based, then another one wave multiplier based and last classical subtractive).

richard · Post by **richard** » Wed Aug 26, 2009 2:54 am

the music easel and vcs3 are in my head all the time, not just as sounds but as concepts driving me to organise my system, get new modules, sell old ones etc... and its one reason I can't dump my Plan B stuff as others have done... sonically its seems to be the easel is easier to recreate, especially with at least one and maybe more digital dual VCOs on the near horizon

but both those synths are so small, why is my modular always getting bigger?

workflow is the first thing to get lost in a fully modular system, its still very difficult to recreate the logic and ease of a great semimodular system in euro...

also any synth in a suitcase has something inexplicably great about it

Richard

Post by **Kent** » Wed Aug 26, 2009 5:34 am

richard wrote: also any synth in a suitcase has something inexplicably great about it

Richard

Agreed!

Also, the Analogue Solutions SQ8 can sequence between 1 & 8 steps. Just pull out the knobs on Steps 1-5 and leave step 6's knob switched 'in. Connect the gate out to the reset in et Voila! It is now a 5 step Sequencer.

jonkull · Post by **jonkull** » Thu Sep 10, 2009 11:33 pm

Semi-related: http://matrixsynth.blogspot.com/2009/09 ... music.html

http://users.ece.gatech.edu/~lanterma/buchla/boards/

monokit · Post by **monokit** » Fri Feb 05, 2010 5:58 pm

D/A A/D wrote:Here is the closest I could get it in 6u:

Nice! Since Plan B is litereally not existing any longer...with what can the Plan B modules get replaced?

MUFF WIGGLER

MUFF WIGGLER

cloning a Buchla music easel with Euro modules

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