I do! Feels pretty extravagant, I should probably sell the Peak, or maybe a different synth if I want to justify owning both.
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Iâd challenge that and say it doesnât have the character of the P12. But I wouldnât know cause I didnât play the Peak or Summit 
but facts shouldnât always have to cloud an
opinion, on the other hand.
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How are you enjoying your Peak? Any good patch tips youâve come up with lately? Iâve been making lots of patches with the looping envelopes affected by velocity for super fun expressiveness, getting the thresholds dialed in so the changes occur at just the right velocity levels is really satisfying.
here ya go: (not a fan of sp*tify either so all good)
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So, my theory (that no one asked for) with this aspect of the Peak/Summit is that this is the direct result of Chris Huggettâs design expertise, the decades of experience designing synths. Itâs the way it always seems to be working with you. The logical layout, the routings, limits and options, the fx, how it all responds - itâs really a pleasure to use and feels very creative. I donât think that comes across at all in demos, you have to use one in a musical context to grok that.
One thing that I really appreciate that stems from this is the way that you can either have a specific idea for a patch and very quickly implement it (because the structure is so logical), or you can just start experimenting, go with the flow and end up in all kinds of wild places.
/(un)paid shill
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Shame it doesnât have MPE would make it a no brainier then.
Eh itâs already a no-brainer in my opinion, would be very curious to see what an MPE implementation would bring in the hands of someone skilled. You can make patches with tons of morphing behavior, that give very different results based on velocity, with a lot more timbral variety available in a patch using the mod wheel/mod matrix effectively. Also, the aftertouch feels good and is easy to assign.
The only benefit I could really see even after the explanations is maybe per-note pitch bending on evolving pad sounds, but otherwise, I donât really know what an MPE implementation could improve about the synth.
Maybe post a video of a similar polysynth using MPE effectively to really convince me? My only restriction is⊠no pads!
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It just gives you more hands on control. Defiantly great without it , just would be even better with it!
I feel you. Do you know of a good video that shows a nice MPE implementation off?
So whenâs a good time for me to bring in George Clooney in this thread as well?
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Heâs been here this whole timeâŠ
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I quite like this video. Osmose E is on my ÂŁÂŁ list
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Nice, I liked the video too but I didnât see anything in there that couldnât be done on a standard keyboard. I am going to go look on YT now for some examples of MPE though, pitch-bend per note specifically sounds like it could be a really nice thing to have. I wonder if it would be even possible to implement on Summit?
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I definitely understand people wanting MPE, but it is more complicated than that.
First, the keyboard on Summit is not compatible (by design, for a more normal keyboard experience), and with Peak, youâd need a special controller that supported it.
Second, it greatly increases the complexity of the MIDI implementation⊠it talks across multiple channels, one for each note, so MPE-mode would suddenly make the Summit/Peak very unfriendly to most MIDI setups.
Third, the general patch design would have to change quite a bit⊠a bunch of new modulation options, and Iâm not sure if the processors are powerful enough. They already squeezed in multiple new LFOs and an effects mod matrix. If they had more headroom, they would probably have added even more LFOs. I definitely wouldnât want added latency to the device.
Mostly, I think it seems simple to ask for MPE on a feature list, but MPE is just much more specialized than some simple feature add-on. Without MPE, you already have dozens of modulation capabilities, and something like a Touché with Peak can do just as much.
MPE is mostly only going to be available with devices that are designed for it from the get-go, like the Osmose E, and even that is experimental. If it isnât successful, it very well may not get more adoption. We are already seeing Roli fall into bankruptcy.
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Great suggestion touchĂ© would help a lot. Itâs just the ability to do it while playing. Oh well. Iâm aware it wonât be implemented as theyâd need a new keyboard entirely. But itâs not as complex as you think. I even have a eurorack module that allows for it. It just mightnât make sense considering the built in keyboard. Regardless a great synth mind!
I know how to solve this
D beams.
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I donât know, Iâve heard that the Summit does a better P12 than the P12 itself.
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For years the P12 keyboard was my dream synth, but when I finally got one I felt let down. Admittedly, I didnât give it much time before returning it. The summit is what I wanted in the P12. I havenât had it all that long too and dealt with a defective unit, but to me the Summit feels like a forever synth. Iâm loving it.
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Quick question, does LFO 3 and 4 on the Summit apply to both timbres still or per timbre?
What you describe is closer to poly aftertouch.
As said in the thread before Mpe is highly dependant on the layout of the circuit/patch/whatever and the control surface.
With mpe you could potentially have a 3 notes chord where fundamental would slowly bend down linearly while opening a filter whereas the third will get an increasing tremolo and the third scanning trhu a wavetable while bending up and increasing vibratoâŠ
To fully exploit Mpe you need to have a hell of a synth because each voice/note could potentially need access to each component of the patch independently from the othersâŠA bit different from poly aftertouchâŠ
With a standard keybed, I donât really see the point of sending mpe which will be limited to one parameter. Usefullness of receiving mpe is highly debatable depending on the hardware, software architectureâŠ
Best way to experiment mpe for me has been my 8 monthes with a continuum, the playing surface clearly relates and when connecting to something like tardigrain, which have virtually no limit in its architecture on ipad, it was really interesting and different from what I experimented whit a classic controller.
I do not expect the same level of expressivity with osmose because it will definitly lack the âYâ dimension which will be replaced by a sort of dual âZâ which will be mutually exclusive. ( The deepest key course will be accessible only after travelling thru the entire first half )
IMHO, of course. 
MPE is really not that special. It is just a rebranding of a standard midi mode from 1983. But it requires a kind of multitimbral mode, but with all set to same patch. All midi guitar compatible stuff is working just the same way as MPE. Thats the reason some old gear works fine with modern MPE controllers.
What it did was making the pitch bend distance correspond with the pitch of the notes.
I have never tried MPE, but poly aftertouch really opened up the Peak for me. But my keyboard is so incredibly hard to play, so i get sore fingers after a couple of minutes. hehe.
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