Expressive E Osmose

I’m pretty sure you can emulate/approach more/conventional moog type of sounds with the Eagan Matrix…You’ll probably miss a legendary filter or two… :slight_smile:

What differentiate classic synth sounds, we are accomodated to from more realistic seems somewhat pretty thin.
I had a “wow” moment while I was watching a recent video of Christophe Duquesne presenting the continuum at modularsquare.
He just started a patch from scratch and added just one sine oscillator.
By just adding (sort of) key pressure to the patch instead of a classic enveloppe, he went from one of the most bas(s)ic synth sound to something already really close to an acoustic wind instrument…
No filter or fancy triple detunned oscillators…
Just a single sinewave oscillator and only pressure modulating the amp.
I just realised how we are actually prisonners of the amp enveoppe on classic synths…And how this amp enveloppe draws a line between synthetic and acoustic feeling…


Nick and the Expressive E guy in the latest video referred to what you’re talking about as “traditional synth” sound.

I guess the unique keyboard is what’s drawing everybody to the Osmose and overriding concerns about whether one can get the beloved synth tones of yesteryear - sorry jon35y if my guess about your taste in synths is in correct.

I agree that having those extra dimensions of control over the envelope is quite a game-changer.

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You’re pretty much on the money. I’m not really interested in making droney warbly music or with achieving accoustic level vibes for percussive/flutes/etc but I have been very interested in MPE instruments over the years.

I get why Expressive E are pushing this heavily in their videos though as these are the sort of sounds that most easily demonstrate the keyboards capabilities. But for me, I’m more interested in the thought of hooking this up to Omnisphere (or something like that) and getting in to things.

I’ll need to go digging the synth engine videos. In its own way, the videos largely replicate the sort of experience you get with Elektron gear with it “four to the floor techno or forget it” initial experience. Im sure there are plenty of videos out there that I’d find interesting.

In any case, I have months to work this through and to make a final decision. I have owned the Touche and used that with synth sounds so I know what could be possible with Osmose which is driving the excitement for wanting to hear “traditional synth” sounds set up through the various dimensions offered.

For the specific target market, this thing is a genuine game changer though and I can appreciate why many are beyond excited for it.


yeah, this is an important aspect of expressive controllers generally…
you will be surprised how good relatively simple sounds can be when you get more direct control.
(conversely, you can muddy things up if your not careful :wink: )

many factors to this, but I believe its down to a few (related) aspects
continuous control, high resolution, poly independence
the sound is continually changing because your holding the touch, and moving ever so slightly , which is being picked up due to high resolution… so the sound is always evolving , then when you add multiple touches they are also slightly different.

with traditional keyboards we try to ‘fake’ this movement, with envelopes, lfos and random elements - we try to inject back the ‘life’ , that we lost due to not capturing out ‘input’ with sufficient ‘finesse’

that’s not dismissing keyboards, percussive, non-continuous sounds are very cool too… my favourite instrument is a piano… which needs none of this,
but its great to have options… (esp. in some ‘genres’ of music)


Ironically I think this advanced keyboard is going to enable quasi-musical noodlers like myself sound like near virtuoso players - as we milk every last emotion out of each note, even moreso than folks who are already skilled keyboardists., we’ll eventually bend that off-note up or down to match the scale!

Musical Theory is just a theory after all, once you can bend and wobble every finger tip! :partying_face:


Wise words Brother M,
I was unfortunately born with a rare case of Bunglitus ( or the hands of Bungle to the less medical among us) and I hope the Osmose will enable me to finally have the phalanges of the Great Richard Clayderman.
I have buckled… :roll_eyes:

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Yep, those of us who do not specialize as keyboard instrumentalists will be the equivalent of the mystical blues player, bewitching listeners with but one slide on one string and a wail, compared to Yamashita shredding frantic symphonies on classical guitar. And I’d be totally ok with that.

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Was directed to this thread on Expressive E’s similar-looking forum:

“Osmose prototype uses à triple DSP board”

Our man Cuckoo:
"The early prototype I was using had the Continuum PCB hooked up externally for the time being. They were still waiting for the slightly customised PCB slated for the Osmose. The laptop was just for controlling the patches and the EaganMatrix. "

Anckorage (Expressive E engineer?):
“The onboard knob+screen will allow a lot of configuration like le max pitch deviation on “X” but also the minimum depression of a key to triger a sound (it can really start from the very first touch). Mostly everything you can tune from my SpringSound IOS App will be accessible plus some dedicated paramater of the Osmose (controler behaviour, etc.)”

“Yes I’m involved in hte development (Eagan Matrix programming, sound design, link with Expressive E …)”


Jumped back and forth on if I should get this but early bird type pricing schemes always seem to have a negative effect on me… I think it is partially because I rarely jump in during the early bird part and then I am never willing to pay the increased price. This does seem like a really fun product though I just doubt I will use it in my current music. I guess I might get one in 5 years or so once I can get it used at earlybird cost after seeing it live out in the world. :sweat_smile: I will probably be jealous of everyone who ordered one once you get them though!


Does anybody know if the EaganMatrix Engine includes emulation of electric pianos? Rhodes / Wurly like

Otherwise I assume it will be possible to DIY?

Couldn’t find a patch list
Is there a way to try out the Engine without a continuum/osmose?

To be clear is an independent forum for all electronic expressive controllers and instruments , it’s completely independent of any manufacturer including expressive-e.


Eagan Matrix is dsp based, you could try to download the editor for mac or pc but I doubt you won’t be able to make any sound out of it, if it lets you make anything without being hooked to a continuum…

Christophe Duquesne ’ s springsound ipad app is probably the closest you could find…

Regarding, emulating rhodes or piano I’m pretty sure it 's achievable with the onboard tools.
I suppose you do not see them in demos because they tend to demonstrate the most impressive/different sounds.
Rhodes emulation are not the main selling point here.
( Even if a good rhodes emulationcould be a selling point for me ! :slight_smile: )

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That would be a good question to ask the company. The guy in the video said that new presets are under development. It would make sense there would be some focus on presets that pro keyboard players would want since that’s the market they’re trying to attract with Osmose - we used to call them “bread and butter” sounds - piano, organ, strings, etc.

I’ve heard some Rhodes-like sounds on some of the demos. I’m guessing if the synth is as flexible as advertised, taming the timbres to more conventional emulations, particularly Rhodes, should be possible though might still be somewhat different.

As a smokey broken-key, dirty action, vintage fender suitcase fan, i’m happier with an unconventional Rhodes flavour, rather than pristine Lionel Richie/Luther Vandross/Bette Midler 80s electric piano cheese.


I almost pulled the trigger on this one. What saved me was that I thought the early bird offer would be available until 31st December, so I would have some time to think about it. Now, I would feel stupid paying 120 euro more. In hindsight this is a good thing, because whether or not the osmose is useful to me is strongly dependent on how it feels playing it. This is impossible to do at the moment and highly subjective, so it is hard to tell by the opinions of other people playing it. If there is a 40% discount if you buy it without trying you should be at least 60% sure that you will like playing the thing based on videos you find on the internet to not effectively loose money. In my experience, if I like something based on videos there is at least a 50% chance that I don’t like it when trying it out in the shop. It’s probably even worse for the things which depend on how they subjectively feel using them.


Therapy post ? :rofl:

Just joking , no offense meant. :wink:


Yes. You know, I realized that I never really wanted it anyways. And now that it has gotten more expensive within a few days I would be really upset about why I didn’t order it right away. Luckily, there are plenty of good reasons why I don’t actually need it.


As a fair second hand price for most near-new gear is around the ~20% mark, at 33% off there is still room to have a flutter. :santa:t3:

While there are a number of organ patches (with one or two ‘traditional’ organ sounds in there), there are only a couple of ‘tine’ sounds, and none of them are trying to sound too much like the real thing - probably because the Continuum surface isn’t terribly suited to traditional keyboard sounds.

However, it wouldn’t be that hard to make such a patch and I can’t imagine such a patch won’t manifest by the time the Osmose is released.

Yeah I think it will be interesting to see what Epiano sounds come out of it… I think for many musicians (probably not the ones in this forum) this is going to be a total preset box akin to the DX7. I wonder if there will be a new classic epiano sound that we hear on all over music if this does well enough. A lot of the demo sound remind me of D50 sounds. I also wonder for the keyboardists that dont plan to program it, if the presets will stand up in non cinematic work, it seems like the perfect thing to score a movie with in a studio. I suppose if it gets enough interest from live musicians we will probably see a full 88 key version soon.