I have several hardware synths that also run their own OS’s.
Ironically, people whined and cried for their manufacturers to release software editors for deeper edits to those synths, rather than viewing the mere existence of such an editor as a negative. 
Computers have a much shorter life cycle than musical instruments, at least until now. Your computer software will also have to evolve or it will simply stop working.
As for instruments running their own OS (eg Korg Kronos, Kurzweil K2xxx, etc.), given the direct integration with the hardware, what issues would you expect?
I am saying that software specifically built around specific hardware can be a very good thing (“integration”). This seems especially to be the case with the Osmose which has hardware features no other hardware controller has, so having software designed specifically to take advantage of those features (using EaganMatrix and specifically designed presets) is a great idea. You get 500 presets with a huge variety of sounds, all tailored to the Osmose. One review quipped, “you wouldn’t tell a French horn player, ‘hey, your instrument doesn’t make piano sounds, lame.’” When I get the Osmose, I’ll be getting it for the pads plus poly pressure. Everything else is frosting. If I can’t use it well with other software or to control other hardware, don’t care. if I can’t use its software with other hardware, don’t care. The combination looks fantastic.
We are on the same page here as far as the Haken way of integration is concerned. You can still use the essential features of the hardware without the software. That’s how I’ve used the Continuumini most of the time and that’s how I use the Osmose as well. Those presets are worth the expressive effort.
With an EE Touché, IIRW you can also store a few presets, nevertheless, adapting the config is an essential feature which is tied to Lié. So in a way the longevity of Touché is tied to the compatibility of Lié with future computer operating systems.
Thanks for the video.
Take a look at Cubase’s “record as Note Expression” function if you don’t know it. It records all the CC data on the actual note, which makes it way easier to edit. It might be what you’re looking for.
where there is a will, there is a way
for 3rd party, the protocol is not documented…
but its easy enough to reverse engineer, esp. as we even have the Editor source code (in max)
but its still a major dev effort.
perhaps there is a market, but will they be willing to pay?
why target a market with a few thousand users, when you can do a vst which targets to 100,000s
IF (and its a big if) , I see this mostly likely coming from:
a) expressive e
there are many reasons for them NOT to do this, but a few they reasons why they might.
b) enthusiast
open source dev, who do it for fun.
this could have happened with the continuum already, but wider availability means more devs getting it in their hands.
and of course, Haken, they are doing constant dev in this area, but they have NOT committed to anything.
so sure, anything is possible , but certainly don’t hold your breath… its why speculation in this area is probably unwise… really you cannot have an expectation at this stage that it’ll happen.
All good points. I do wonder if Haken agreed to do this with EE to greatly expand the user base and thereby preserve the legacy of the EaganMatrix engine beyond the life expectancy of the limited Continuum and modular user base they already had. For this reason alone, I am glad they did it, even if they do nothing else to expand support for the Osmose. As I’ve noted above, I plan to buy the Osmose and think I will be well satisfied even if I never use the EaganMatrix directly, even if no other presets are created by EE or third parties, even if I never use the Osmose to control anything else. It is not just another keyboard. It is an instrument in its own right.
I doubt this, the Continuum is a legacy unto itself… its pretty much the grandfather of all these expressive controllers, and the Eagan Matrix is part of that legacy.
also as I said, this is 3 guys… I don’t see they need to make ‘Haken Audio’ last forever as a company entity for the sake of its employees
(besides, the Osmose is not better than the Continuum, and much more mature, and its quite possible people will be playing the Continuum well after the last Osmose is put to sleep)
I think its pretty much as Expressive E have stated…
they were looking for a sound engine that would make use of their new technology, and Haken Audio is the ‘cream’ for this (and they already knew the Haken Audio guys anyway)
also, Haken have been branching out a bit… Continuumini and the Eagan Matrix Module (EMM).
the first, was I think to help fund the move move to a new PCB / DSP board, which has made everything that follows it possible.
but perhaps even more interesting is the EMM, many years back I said to Lippold/Edmund I wanted the Eagan Matrix as a standalone box (pre my eurorack days).
( much later, I told Christophe I was going to cut the keyboard off a ContinuumMini 
)
they said, it was unlikely to happen…
the reason being… they felt the Continuum surface was an extremely important part of the EM… and you cannot have the EM without presets being designed for it… which you cannot do without knowing the surface !
(so you cannot design presets for a generic mpe controller)
so there has been a bit of a shift in thinking…
and so, likely when approach by EE, they thought it could be an interesting collaboration.
as for more being more mass market, I suspect thats a blessing and a curse for them.
of course, hopefully provides more financial stability, but also a lot more expectation and pressure , falling on only 3 pairs of shoulders.
what we really don’t know is what EE plans are for the future…
Osmose is new for them, and its success, will for sure have them thinking about what next… where to we go? … but if may be even they don’t exactly know where that is… (beyond just doing thing like 61/88 key versions)
we have to remember, a large part of the Osmose market/usp is the keys… the familiar form factor.
there is nothing to say, they could not create a different osmose with a different synth engine, perhaps more familiar, perhaps of their own design.
in many ways, you could see that teaming up with Haken, helped reduce the initial work ,and risk - not having to worry about the synth engine, having something proven and respected already…
but its all pure speculation, and as I say, Id not be surprised if EE hasn’t even made firm decisions yet… Im sure they pretty much focused on delivering the current Osmose, and iron out issues.
Good point! TBH, if I could afford it, I’d be getting a Continuum instead of an Osmose.
Or strip down what they already have and make a controller.
Or OEM the keybed to others. I think if they don’t try to do that eventually it would be a mistake.
yeah, lots of options… it kinda makes sense to initially hit a bit more the ‘premium market’…
but for sure, they could potentially license the technology. but its a bold move, to sell your USP.
I think the real question is how big is that ‘mass market’, unfortunately, I think Roli has shown it’s not as big as we might imagine… their ‘budget’ products were a disaster, which they have barely survived.
… so grow too big, too quickly, at your own peril.
so lots of possibilities for EE to navigate, once they have really nailed the Osmose.
(there are currently (manufacturing) things that need ‘ironing out’ even before wide scale distribution)
Decoding:
USP - unique selling proposition, the thing that makes your product unique and better.
OEM - original equipment manufacturer, maker of systems or components used in another company’s end product.
TLA - Three letter acronym.
Love this! hahaha
Is this you playing?
If I make a video, I post it on the GovernorSilver channel.
So, no it’s not mine.
jarre has an osmose
I’m using the Osmose to play my Analog Four. In order to get individual expressive control (such as aftertouch and pitch bend) for each voice, I’m using the Osmose in multichannel mode outputting to midi channels 1-4 on my Analog Four.
This works great, except for one quirk: When playing more than four notes and then letting go of extra keys so that I’m back to four notes being held, the Osmose retrigger already held down notes. This is not what I want (or frankly what I would expect).
Is there some way to get around this other than writing to Expressive E and asking for an option to turn this behavior off?
Write them and ask them if there is a way to get around this other than them adding an option to turn it off?
Sorry I can’t be any more help until April. Or is April wistful thinking and the actual date was May? I can’t remember anymore, and perhaps it’s better that way. I’m going to bed now and not looking that up.
To me, this sounds more like voice stealing mechanics than an issue with the controller. Same as in MPE mode, each voice uses its own channel in multi-mode. This may have your Analog Four behave differently in fact than you would expect it to. You could cross-check this behaviour with another simple controller set to split mode.
Another thing to watch for is that, because the Osmose is very sensitive, it will send out many more messages than any regular controller. You may have just removed one finger where Osmose has also noticed another subtle finger movement and send out a new message. If so, then tweaking the sensitivity settings to less sensitive may help you smoothen the issue out.