In improvisation I try to think less and experience more.  The primary
experience for me is listening. Then, I want to respond quickly, honestly, playfully, and
intuitively. I have no time or inclination in such a moment to squint at monitors, peck
through menu trees, or decipher a panel of look-alike knobs.

I've been playing The Buchla Music Easel since 1976. With it's color-coded slide pots,
it's musically logical panel layout, and it's almost sculptural patching system, I can
comprehend the state of the instrument with a fleeting glance. The
touch-sensitive, capacitance-activated keyboard responds smoothly at the
speed of light to the slightest skin contact, and it's assorted control voltage outputs can be
directed to sonic and structural perameters very quickly.  The potential to
supplely flow into and amongst all the basic electronic sound forms is literally at my
fingertips. I am happy when I'm playing this instrument.

Keyboard Mag Oct 92
Mills College Student: The problem with most equipment nowadays is
there's a lot of bandwidth coming out, they can make a lot of different
sounds, and the signal-to-noise ratio is really great. But there are a
lot of parameters to change using these awful little LCDs.
You don't get the sense that you're getting any bandwidth from
the performer--the bandwidth of a human making expressive motions.

Buchla Interview/Keyboard Mag Dec 82
Aikin: The design of a synthesizer contains hidden assumptions
that control the music played. Instrument design is a topic most
musicians are only peripherally aware of. We have enough trouble
learning to play our instruments and working out repertoire...
Even so, the kind of music we're able to dependent in
drastic, far-reaching ways on the decisions
made by instrument designers...

Subotnick: The most important thing about these {Buchla's}
instruments is that there is a kind of neutrality about the way
things are designed and laid out, so that a composer can impose his
or her own personality on the mechanism.

Buchla: ...{commercial} electronic {instrument} possibilities are
still being made subservient to our traditional acoustic experience
...the {Buchla} instrument doesn't force you to make any assumptions
about what are pleasing shapes {ie sounds} and what are not.
Atkin: ...they {the big electronic music instrument companies} want
to put instruments in people's hands that people already know how to play.

Buchla: ...which is why you see organ keyboards on electronic instruments
... Certain aspects of the music are going to be dictated by the nature
of the input structure, and by the correlation between that and the
sound-generating structures. Our traditional input structures have
been designed to efficiently set physical bodies into vibration.
But electronics technoloy offers us an incredible freedom from
the direct connection found in traditional instruments between that
which we touch and that which vibrates and creates sound.
An electronic instrument that's well designed won't become obsolete.
But the tendency is for engineers to design musical instruments,
and they design from the inside out. They design the circuits,
and then they put controls on them. A legitimate instrument has to be
designed from the outside in. The outside is what the musician
is going to encounter. You cannot become obsolete if you design
a legitimate instrument from the outside in. I don't care how you
make the sound. If today it's analog and tomorrow it's digital, fine.
Input structures and the resulting sonic responses are
no longer tied toggether in fixed and predictable ways.
Information from the input structures can be re-mapped to the
tone-generating structure. ..{the Buchla design approach} is
distinguished by its almost total generality. It's a little cumbersome
to use, in that it may take {a lot of time} to specify a complex
musical resource, but once the musician has gone through this process of
specification, the instrument becomes eminently playable in a very
personal manner. You can literally configure each and every key
to produce whatever kind of interaction with the system you would like.
You're not limited to any of my preset concepts of what kinds of
interactions are musically acceptable.
{Some of these interactions may not be} associated with sound..
{but rather with} musical structure, and that structure can be your
own invention. The fact that you can modify the structure on many levels
by means of your input actions during a musical performance
is a characteristic of the {Buchla design} language.