Yes, I need an Osmose AND a Continuum… 
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Yes, I was also very impressed in this way when I tried the Continuum. A rare experience on an electronic instrument to have this feeling of an expressive instrument! So different compared to synthesizers, where I see a lot of presets more as a starting point and the playability feels very “technical” with the standard interface of a keyboard and mod wheel or knobs. I once had a DSI Mopho Keyboard where it took me a day to make a sound which responded satisfyingly well to the aftertouch keyboard. It was OK. I am very looking forward to the dimensions of the Osmose!
The other demos left me cold. Then I saw yours - and pre-ordered.
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I’m surprised nobody posted the full Interview/demo by virtual riot. It’s really nice how he demonstrates expressivity (and sound quality) with slow evolving pads.
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I think my experience with the Continuum, and my appreciation for continuous control definitely made it more natural for me to adapt to this “per finger” control.
It’s true that the Y pressure takes effect after Z has been maxed out. But there also the potential “velocity” parameter, depending on how the patch is designed. The actual velocity, speed, change over time, can influence how a sound is building up energy. The EaganMatrix is having continuous access to an extremely fast scan rate of the sensors. Like when you strike the key as fast as you can, the sensors have been scanned 4-5 times already from the initial touch to when it hits the bottom. Some of the Continuum patches are designed around this concept. Koto like string patches can be approached slowly and you can vibrate and massage the tone to life, or they can be stroked hard for a more plucked feel.
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That’s what a forum is for - for the community to share what others overlooked. Nice sounds and thanks for sharing
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Like everyone else, I enjoyed your video.
How intuitive did you find the left-side controls and display for quick tweaks to the patch?
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Invention in C Major was the only one in which I was able to play with both hands, in time. I only attempted a handful of other Bach Inventions, and never got past practicing with one hand at a time.
I have a Clare Fischer book (Harmonic Exercises for Piano) that has nastier stuff than either the Hanon exercises or the Bach Inventions. It was recommended by a couple of pro keyboard players.
Giving up the ambition to develop “pro” skills on the keyboard has been liberating in some ways. I’m totally fine with getting an Osmose and using it for recording tracks and playing relatively simple parts.
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Even though I want to see his impressions. Then in the future we can compare changes, improvements, etc. to what he worked with.
My curiosity was raised by the complaints posted earlier in the thread about the UI for other Expressive E products. It’s not necessarily stopping me from going ahead with an Osmose order, but why not see what he has to say.
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But it is so lovely. Not a bad only one piece to play. Not bad at all.
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I played it at 1/1000th the BPM that Glenn Gould recorded it, but even at that near-ambient speed I agree it’s a lovely sounding composition.
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Charlie Clouser seems to have all the cool toys. I stumbled upon a thread he started on the vi-control forum. The pro keyboardists seem more likely to complain that the modeled “acoustic” tones of the Osmose are not as realistic as SWAM libraries, but as someone who plays real viola, guitar, etc. I’m not interested at all in emulating real acoustic instruments. What’s always intrigued me about physical modeling and related tech is the responsiveness more than the realism.
Anyway, Clouser’s thread, which mentions MPE+, the extension to MPE proposed by Haken.
The left side was just placeholders and pretty much non functional at this time. I’ve seen a sneak peek of a screen in action, and the pictures on the web page reflect the final layout I think.
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How did you like the finish on the keys? In the videos I saw I thought it might have been nicer if they had done it not in wood but like a real piano shiny and smooth (for the looks and maybe feel).
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I think they are purely prototype. Finished product will be polycarbonate plastic.
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I think another smart thing about this keybed is the exposed backside to the keybed… makes watching someone play it all the more fascinating. I think I’m going to skip out on it, although I think it looks like a ton of fun, I’m not sure it would actually be the type of thing I use with the music I create. Would be really cool to see them make a finger drum type set up basically 8-16 tiny touches on one controller, add in a drum synth engine and I would be set. Would be a great way to play with elektron stuff.
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But the Linnstrument is amazing!
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Of all the MPE controllers I’ve bought and sold it’s the one I sold far too quickly. Definitely an instrument to lean rather than something like the seaboard where is more an added layer to existing skills.
Plus it’s incredibly cool to be communicating with Roger himself when you have questions.
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I did a pretty half assed master thesis on MPE controllers, and the linnstrument was by far the most enjoyable of the controllers I tested at the time. The others were seabord, continuum, soundplane and touchkeys. They all had their strengths and waknesses, other than the touchkeys. Felt they had mostly waknesses.
But the Linnstrument was so playable, could do chords and sliding melodic lines interchangeably with ease. I don’t know what I’m gassing more for, the Osmose or the Linnstrument, but I’m hoping baby Jesus will give me both for christmas.
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The keys at this point where I was testing it were custom 3D printed. They had finally landed on the final construction design, and during that very day they told me they had just received the first key from the factory for inspection. I think the final keys will be moulded plastic, with a final coating to assure your fingers won’t slide around when making pitch bends, but not too much texture to make it feel weird. I have faith ;-D
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