Expressive E Osmose // 4 pros, 4 cons and how to unlock the power of its matrix // Review & Tutorial

[@bricelory9534]

As someone who comes from a classical background, I have to laugh appreciatively about the comments I see in some Osmose reviews that because the Eagen Matrix is so complex, we'll just be hearing the same presets again and again - I mean, almost all acoustic instruments are effectively the same "presets" - but we have yet to grow tired of them. I do love creating my own unique synth patches, so I totally get what they're saying. But with the level of expressive control and quality of presets, it's not necessarily a bad thing when you can hear a song and go "oh! They're playing the Osmose!" It's just kinda fun to see how different musical worlds approach music differently: classical music emphasizes artistry through expression, and many electronic artists emphasize total unique timbre. It's cool something like this can seamlessly meld the two sensibilities.

[@leroycarr9]

Excellent point and well said. I feel very much the same.

[@davidjazay9248]

True, acoustic and electro-acoustic instruments feature fewer sounds, but with different playing techniques you can extract much more expression from them than from playing the Osmose presets. The Osmose had me reaching for my electric guitar and pedals after our brief honeymoon period.

[@leroycarr9]

@@davidjazay9248 It’s true what you say for musicians who make music with fingers on strings or with their breath. But pianists and keyboard players in general have not had this type of expressive control before. And I realize, it is always more about the musician and their music than the instrument. Corey Henry sounds amazing whatever he plays!

[@leroycarr9]

*Cory Henry

[@bubblepipemedia3414]

This is a great point and something I’ve thought about a lot as someone who owns far too many softsynths. At a certain point, I don’t need any more presets. You hit a limit. At a certain point, it’s time to explore musicality instead of sonicality. In the end, I’m not entirely sure there’s that many truly new synth sounds, just mild variations on the same thing, perhaps with a shiny new reverb or delay. Strip the effects away and you’re left with an oscillator, some filters, and hopefully, a good performance. You can always add some nice spices later when mixing.

[@EVILJAMARR]

Always start with loopop

[@adrianlara5045]

Always.

[@EdgyNumber1]

He does have a nice voice. Best reviewer out there.

[@kvasin04]

The force is strong with him.

[@t9h3m]

The amount of options in the first 10 minutes already blew my mind! The "scraping" based on position, the strum at 100% that you can hit from both directions, playing a chord in a single keypress, wow!

[@macronencer]

The didactic efficiency of your rundown of the Eaganmatrix beats anything else I've seen online. You didn't tell us everything (that would be insanity) but it looked as if you didn't omit anything important from the essentials and your summaries were clear and comprehensible. You've given me the confidence to try some of my own sound design now. Thank you.

[@bricelory9534]

Cuckoo put it well in his review - this is an instrument that I think will deeply resonate with classical instrumentalists when approaching electronic music. This sort of expressiveness is something that takes time to master, beyond learning how to master settings and patching (a different set of skills in their own right!). Using the bend for vibrato is the most intuitive form of it I have seen in a synth - I already try to wiggle my keys on normal synths. This has shot to the top of my list for gear I really would love to have.

[@zoran.rosendahl]

Yes!

[@V3nom7]

Replicating (and improving) acoustical instruments was all about physical modelisation when Eagan was working on the Continuum Fingerboard and the Eagan Matrix (same engine in the Osmose). You can see Osmose as a Continuum-lite. This is exactly why I bought this one, way more affordable than the Continuum full size (which I'm grieving for 15 years)

[@DavidHHermanson]

I am a classically trained musician, and indeed would love one of these. However, at this late stage in my life I have no desire or interest in trying to learn what is essentially an entirely new instrument. Make no mistake, boys and girls, this is not a piano. Classical musicians generally accept the notion that full mastery of an instrument precedes real musical expression. In spite of Loopop’s outrageous skills with synth keyboards, I suspect he’d agree that the Osmose is a big step away from the traditions of piano and harpsichord that until recently provided the models for synth keyboards.

[@V3nom7]

@@DavidHHermanson You are right, this is something I say for 3 years on the forum where we are discussing : this looks like a piano, but is not, and can't fully played like one. Mainly because of the "wobbly" mere technology behind each keys. (especially if you are trained and would like to play as fast and precisely as on a real one) Of course you can cancel the bend-per-note feature, but then you should aim for another keyboard than the Osmose to play "piano-like".

[@bricelory9534]

@@DavidHHermanson the quality of the patches does remove the earliest phases of learning an instrument - simply making pleasing sounds. You don't need to be a maestro to make this sound good and to be musically expressive. Yes, it's a very different instrument than a piano - and as a classically trained cellist, that is what I want. The keyboard makes sense to me, but I don't have the burden of piano sensibilities to deal with. I hadn't heard of the Continuum until reviews of this - after quickly looking it up, I find that layout very off-putting. Sure, I could get used to it, but with this as an option, why would I want to add yet another hurdle to learning it? (Not to mention the price difference) I don't think this is a synth that will do everything, but its approach is significant.

[@dexime]

The best hardware reviewer on the tubes, your video's are so PRO. Thank you for your dedication!

[@RadicalCaveman]

Loopop's reviews are so PRO, but also so AM, in the etymological sense: "amateur" comes from a French word for someone who pursues something out of love. Even if he also makes something from it, the love shines through.

[@Michael-xr5yx]

Thank your for going as deeply into patch editing in the matrix as you did! Almost no information online on the matrix. Your vids are the top top for practical info on synth gear.

[@ghavinga]

Not quite true, Richard Kram's channel @eaganmatrixprogramming has 89 video's about programming the matrix. Only a few days ago he uploaded an Osmose specific video.

[@Michael-xr5yx]

@@ghavinga Thanks Gerard!

[@X.-.XMusic]

the "my favorite presets" portion sounds like serene home music on a game console after you log in while your brother in the background goes from listening to 7 nation army to an old movie with the THX intro and then watching hells kitchen before a bathroom break. Wonderful review, love the innovative new synth tech coming out in the last few years!

[@andyjones760]

Thanks for including a decent section on the editor software. I've been amazed how many reviews there are already out there, that avoid any detail on the matrix altogether. Almost all of them in fact, which for a player may be no big deal but for a synthesist leaves me wanting. I'm looking forward to delving into the synth engine, and while it's incredibly deep, the power on offer is huge. I get on well with the Nord Modular concept of pairing to a computer for serious editing, and decoupling for playing and performance.

[@ktreier]

Thank you for incorporating an excellent overview of the Eagen Matrix. Numerous demonstrations of the expressive capabilities of the keyboard by synth luminaries, but this review of the engine gave me all the information I needed to keep my pre-order in the queue.

[@sustomusickillsyoutube]

the way you said it implies that this is a keyboard with "a synth built in". Love it 😂

[@MachineBehavior22]

This may be the first digital instrument that is not designed to occupy every second and the full frequency spectrum. Just as Satie reinvented pauses, patience and space in classical music.

[@lundsweden]

If Vangelis was still alive, he would've loved this synth. No synth since the Yamaha CS80 has been so expressive... and that was released more than 40 years ago.

[@paolofanin]

I own the Osmose and I use it also to control my Synclavier Regen... the only problem I found is the pitch "horizontal" sensivity... sometimes it is hard to mantain a perfect pitch in legatos, even being a classical pianist, but anyway I find it more controllable than the Seaboard, for example.

[@avetisk]

The Seaboard is a nightmare. Sent it back after a month. I thought it was because I was a very bad keyboard player but it seems lots of people are having a hard time with that same issue.

[@supercompooper]

Ooh please post you controlling the Regen with this please! ❤😊

[@Simeon_Harris]

check out the "stability" parameter

[@jonirischx8925]

@@avetisk Could you elaborate? I'm interested in the seaboard (especially for sliding sounds).

[@johnhurd3257]

​@@Simeon_Harris Exactly.

[@ndguardian]

I got to play with one of these over at Sweetwater a couple weeks ago. It feels surprisingly different when you first start messing with it, but after that it feels surprisingly natural. It's a treat to play with. Not something I'm going to get at the moment as I would need to dedicate more space, but I can easily see this bringing in a new age of musical techniques within the electronic music world.

[@KevinWheelerMusic]

As a guitar player that learns to plays keys and synths for the last years this would be the synth I needed to start with. When I played a synth for the first time I missed bendings and the vibrato bar. Until now I use pedals and the mod wheel but it does not feel intuitive. I need to test this synth. It seems like it could feel intuitive for me and the sound seems to be great. Thank you for this review!

[@randommcranderson5155]

most synths or midi controllers have wheels or touch strips for bending and vibrato. It's just less convenient than a whammy bar on a guitar since it takes up one of your hands.

[@zroeder]

As a guitarist, you might also consider a Linnstrument.

[@RadicalCaveman]

@@zroeder Yes, the Linnstrument is much more guitar-like.

[@100haymaker]

Brilliant review. You really come close to getting my head around the software. But it badly needs a user friendly front end on it. The sound quality is excellent. Very organic and acoustic sounding. I’d be in the market for one because of this video. Thanks for a great job.👍

[@rge3d]

Totally agree on your feature request. Would love to assign the X axis to one of the 6 macros in the synth tab. I also really wish we had a favorites option as there’s so many presets and quite a lot I will never use. Was pretty bummed about the encoders at first. Very cheap feeling plastic and not very precise. Can’t have it all I suppose. Maybe we can swap them for nicer ones at some point? Can confirm crashing/restarting is a thing (not connected to the computer for my crashes). Despite the negative things, the pros heavily outweigh the cons and I’ve had so much fun exploring a new way to play music. I’d give it 9/10 and I’m excited to see what everyone does with theirs. Also wanted to note that using this with the Hydrasynth has been awesome as it’s really easy to setup some cool poly aftertouch patches with it. Layering the two sounds great.

[@ronnham]

I absolutely love your content. I would love to see a review on the open source zynthian project!

[@LabsCloud]

Thanks for your detailed reviews! I have ordered one several months ago and I am still anxiously awaiting the arrival 😬 to be able to add that expression in my atmospheres and provide that variability in the textures. 😀

[@banterbanter]

If you did a one hour video on a Russel Hobbs Toaster I'd still watch it. Love your channel. Legend.

[@loopop]

Added to the queue!

[@delscoville]

I know polyphonic aftertouch is a rather rare thing only availble on a handful of synthesizers. But it really takes some incredible coordination to use it in a polyphonic way. So left/right and after-touch played in a polyphonic way is really going to take some practice to utilize at it's maximum capability. I don't have enough skill to justify getting it.

[@pontram]

I have some Keyboards with PAT, and in my opinion, that is NOT the case. But my piano lessons are nearly four decades away, and I forgot everything except how to play (with) an instrument. Which maybe could be an advantage. There isn't such a high level of skills you need for an instrument like this, that you wouldn't be able to achieve by yourself. As with everything, you begin slow...and at some point you may be astonished how easy it was to get where you wanted to be...

[@macronencer]

I'm so glad you mentioned the locking power connector in this video. I obviously hadn't read the quick start guide thoroughly enough (quite unlike me, haha!) and I thought I had a faulty power supply.

[@jeffagoddard]

I have a feeling Roland, Yamaha and other vendors will have to release a similar MPE controller as this style of expression takes over in the next 5 to 10 years.

[@davlippo7]

I tried that combining the first three into a layer and it also turns the second and third into the same combined voice so you will lose all three of the originals? How do I undo that? Since the other two didn't appear to change I didn't think they would have been changed. The Macros on voice two disappeared. There are also some odd artifacts or irregularities in the sound so that might be why it wasn't advertised as multitimbral and if it corrupts the second and third voice. You had better save those three if they happen to be your custom creations. UPDATE: You can revert back to the originals if you simply disable the split. The dots remain until to save it back with split disabled. I am learning a lot and this might help others as well.

[@arianhagen]

Lets say I just want to create a simple patch chosing a specific wave form, like on other synths. Is this possible in a intuitive way?

[@loopop]

On the device itself currently now - you need to start from a preset or use the matrix. In superbooth the haken team showed simplified synth engines, but it's not clear when those will be available

[@colinstu]

I hope movie score writers/producers use this thing, wow.

[@mm-mz8lw]

I see that you are using a Vector Synth... I have been waiting for your review of that unit. I apologize if you have already done that and I just can't find it. Very interesting and powerful Synth Thank you !

[@davlippo7]

Like Yamaha, Expressive E needs a forum eventually with Osmose users who can post Q/A continually. The Osmose will eventually get wide spread and popular enough to benefit from a small forum. Expressive E can't answer fast enough (like 5 business days wait) and having two Osmose units here I could post a lot of stuff myself and others could help me too. Eventually we'll need help for those waiting to design using the matrix. I'm using loopop here but no one is responding and it's not the best place for detailed resolutions to specific issues however he is the best we've got so far. Expressive E can't really handle it yet with full energy focused on production. You know Expressive E should hire loopop to handle a bunch more specific tutorials and be available to answer questions and moderate an Osmose forum for a while.

[@JBrm]

Regarding external MIDI and MPE - can we save external midi settings as patches? So I can quickly switch between the settings for various synths I might wanna connect?

[@wyromusic1937]

thank you for a great review!

[@ParnasoCultural]

Great review as always! You're the best in-depth 👍

[@gamervader1289]

Hi how to transpose key in osmose ?

[@johansmolinski]

This is some in-depth shit. Awesome job! Still waiting for my late bird preorder. Had the gas going since 2019. Never been this hyped over a synth.

[@drsamurai009]

Greetings. Excellent deep dive as always. I was lucky enough to just purchase this amazing machine last week and I'm blown away by the sounds from the internal engine, along with the very expressive and intuitive secondary poly after pressure. I do have a concern/question regarding the individual pitch bend aspect of the keys. Not all the keys seem to pitch bend evenly and mostly in one direction (sharp.) All the keys seem to bend flat (to the left) with generally the same force, but not all bend up equally. The keyboard is somewhat exposed from the underside, so is the Osmose meant to be opened up and aligned once received, or perhaps do I have a bad keyboard bed?

[@gyarmp]

I was really looking forward to this review, and it did not disappoint - thank you!

[@davlippo7]

I see people saying "my skills aren't enough" however I think it's easier than playing a note on/off keyboard. Because it's so incredible easy that you can one finger a melody and sound like a professional string section or pedal steel expert or bag pipes player etc. With traditional on/off interfacing you are forced to play chords, progressions, runs, melody w/harmony for the music to sound interesting because all it can do is "note on/note off". With Osmose you are an instant professional even playing twinkle twinkle little star and sounding like a symphony. I propose that the opposite is true of what some might be thinking. Not only that but on/off note playing is boring in comparison. You will find yourself playing and practicing in pure ecstasy for hours having no idea how much time has passed. I've played everything since my DX100 and nothing has come remotely close to this pleasure. I have one hand on one Osmose and the other hand on a second Osmose and if you think one is good, wait until you try two. The Osmose makes you desire to play music and rewards you well while on your journey. Some demos if not many warn of playing technique and then you get apprehensive about it but it's simply not true. Slides and bends are what make sounds interesting and think how much we pay for synths sounds that go out of tune. Vangelis sort of said your on/off, pitch locked/corrected keyboards aren't actually instruments when he said it oppositely. Imagine the thousands and thousands of professional players who aren't playing actual instruments that happen to have keys. No doubt it's an amazing skill but I think it's actually a lot harder to make it sound interesting. This is why guitar players get the lead solos and stand down in front. Not anymore with Osmose. Same for sax players of the 80s. It's way harder to make a trumpet play like a sax, it just isn't going to happen in dependable fashion. However they have some more work to make Osmose foolproof electronically before it's lead worthy ahead of the guitars. You know how in country music you see a specialist pedal steel player sitting front stage either left or right? That will soon be the Osmose on many stages in the future and probably in a double manual configuration.

[@kgbinfo]

It will be interesting to see how other makers respond to this revolution in expressive keyboard technology. What if Arturia made a hardware version of Pigments with a keyboard like this one?

[@JoeKis]

An afordable midi keyboard would be great! I would pay like 600eu max for something like this

[@TreniersComet-1st]

Korg leaks plans to have one coming out in October.... 2027... or ...2028...or... 2030 at the very latest.

[@prod_by_slvg]

TYSM bro you never fail to be thorough

[@V3nom7]

Well, your cons are the exact same as those I mentionned to devs since the (finally !) delivery, I would add the fact that you can't release a bent note without it returning to it's initial pitch (for now). This + the lack of split (and by that I8 mean the autonomous feature in the Osmose without requiring computer), are already fedback to ExpressiveE of course, and I can't wait to put my hands on the split one. (and some Cimbalom preset I'm really missing)

[@macronencer]

Your point about releasing bent notes is something I hadn't thought about, and loopop didn't mention it in the video. It sounds like a significant limitation... perhaps they can't fix it because of the nature of the mechanical sensors :( I guess the bend fader on the left is a work-around, although you'd lose the polyphonic bend that way.

[@V3nom7]

@@macronencer Its a false limitation as it can easily be software fixed with some option, like a pedal used as "bend lock", or maybe a release speed threshold that could be set to lock those... Osmose is far from finished.

[@macronencer]

@@V3nom7 I like the release speed idea, as it can apply per note. Nice! Yes, let's hope they release a new firmware that addresses these problems. I haven't ordered an Osmose yet so it will be quite a while before I have to worry about these things, but I like to know in advance what I'm getting. Thanks!

[@V3nom7]

@@macronencer No matter what you plan to buy, always buy a thing for what it is, and not what it is promised to be. They are still developping the firmware, and we already had 2 fixes since december.

[@thirstyCactus]

Excellent review!! Thanks for doing what you do : )

[@DankePlace]

This is an amazing instrument, glad you got to get your hands on one and do a video.

[@TheOriginSoundtrack]

Thanks for the bit on using with external MPE synths! Will you do a separate deep dive into the Vector Synth itself?

[@loopop]

My pleasure, and no, not likely

[@OMEGAGENESIS-gw2fx]

I pre-ordered mine months ago. It's supposed to be shipped in June. I can't wait.

[@V3nom7]

I wish you wont have any delay. Back when we backed it late 2019, we were said the delivery would be spring 2020, and nobody knew we had to wait xmas 2022 to have it. ^^

[@SpaceDisco1]

I ordered mine in 2019. Lel

[@V3nom7]

@@SpaceDisco1 Mine in mid november 2019, recieved it late december 2022. This is mainly about filled containers in China.

[@mikeskellington5573]

Ordered mine in December 2019 and still waiting eagerly…

[@izzymonkey]

Great rundown! Cannot wait and eagerly anticipating Osmose with all of my hardware synths (and Pigments!) The preset at 56:13 reminds me fondly of a patch I made with my elektron Analog Keys. Lovely timbre.

[@edmc2]

Been looking forward to loopop osmose interaction ❤

[@Geepstar]

"And they are not getting it back." Lol. Just making sure that is said. Right. Haha. I love your vids. Thanks for this one again.

[@extrajava9175]

This things got the synth engine from the continuum??

[@loopop]

yes

[@makeperceive]

Your mini Eaganmatrix tutorial was a good one. This sound engine just became even more of a big deal now that this keyboard has so much hype. Here's hoping that somehow some clever heads figure out a modern interface for the Eaganmatrix. A nice juicy design problem, to retain such complexity and control but make it more immediately accessible. I also wish there was a global way to quickly disable the effects; sometimes depending on the patch there is too much reverb/delay for the part I'm recording.

[@pachde]

If using the Haken Editor software, there is a simple toggle to turn off the "Recirculator" -- the unit that provides the reverb/delays. I don't know if that's surfaced on the Osmose display.

[@makeperceive]

@@pachde Thank, I'm aware of that. What I'm looking for is a quick way to do that without using the software, in standalone mode. Haken emailed me and said that there should be a way of doing it using external midi controllers and a USB host, but it's something that I have tried multiple times and not managed to get right yet.

[@pachde]

@@makeperceive This should be possible by sending MIDI cc, but not fully documented. According to my notes, it's ch16 cc33. The value is a combination of settings for Action in bits 0x03 (Classic medium, light, and narrow light are values 0-3), AES bit rate in bits 0x0C (documented in the Continuum user guide), Large font in menus (0x10) and recirculator disable (0x40).

[@pachde]

Come to think of it, easier to send the cc to set recirculation dry/wet mix to 100% dry. This one is fully documented, simple and direct

[@makeperceive]

@@pachde Great, thanks for suggesting that - I will try it!

[@witepa]

Thank you for using metric when talking about aftertouch depth!

[@troyjlandry]

Thank you! I have the Expressive Osmose and want to use the Korg Nanokontrol 2 to manipulate internal parameters within the osmose. How do I map this?

[@aurexlive]

Great review, as always! Looks like the EaganMatrix software could benefit from a few updates for better compatibility with Osmose (for example: you should be able to choose the Macro icons in the macro modules, not by typing in a code string). I guess they are aware of this and this will improve in time.

[@TheScreamingFrog916]

I just got mine a few days ago, and I love it ❤ As of December 2023…I have a few Upgrade suggestions: Needs to have easy way to transpose in semitone steps, in the Playing section. One of the knobs at the bottom transposes in semitone steps, if you push the knob, it toggles between “C” and whatever transpose setting you had before. With global freeze option, so you can choose whether the transposition, affects all patches, or the transpositions saved with individual patches, are used. When in Synth>Global fX , it would be nice if pushing a knob, would toggle on/off the effect parameter above it. Toggle between zero, and whatever was set to before. So you could effectively/quickly mute (set to zero) a parameter, including turning the entire effect on/off with one button press (under the Mix setting). (Same for EQ Mix, and all Comp & Gain settings) Should have alternate keyboard tunings, including user presets. Option to Freeze effects settings, and/or pitch bend settings, so they can stay the same, when you change patches. Set lists, for storing/recalling favorites, and/or for use during live performances. Tighten up wobbly volume knob. Ability for Mod wheel/slider , and foot pedal 2, to be sent to separate control destinations. Fix problem with crashes.

[@Khaliltati]

Do you know if we can use microtonal scale in osmose ? like quatertone etc ?

[@loopop]

I don't remember if Osmose itself has it (please check the manual and let us know back here!) but the Haken engine supports custom scales including microtonal ones

[@i_never_asked_for_an_alias]

Dang, those engineers at Haken Audio going full out. Very impressive stuff, excpet for the laggy menu, but that seems fixable.

[@jlindborg1105]

It's obvious that the creators really had this thought through.

[@uhoh007]

Great review/tutorial with one omission: it's not a normal 5-pin out. It has specially active pins made to send H-Rez input to the "CVC" a 4-channel 16 port hardware Haken to CV converter, provided you use the Haken midi cable from Osmose to CVC. The CVC is configured in the Matrix. So the Osmose is also the fanciest Eurorack controller by a country mile. Apologies if you did hit this, but I missed it.

[@loopop]

Well I wouldn't be as harsh as to call an omission like that an uppercase FAIL but indeed I didn't mention that and quite a few other connectivity features and options.

[@uhoh007]

@@loopop Where do you mention 5-Pin to CVC? I will edit my post. Great video all other respects.

[@loopop]

@@uhoh007 please Reread my response - I didn’t claim to mention it

[@uhoh007]

@@loopop my FAIL ;) The unique Hi-Rez control of CV via CVC makes the Osmose especially attractive to Eurorack users: that's why you should have added 10 secs to mention it, with respect. Maybe you will do a video using it. I love the Vector!

[@martinlord982]

Super in-depth, unbiased review. Would be good if you could comment (or point to a section of the video) about the multiple expression motions - 9 - that Expressive claims are distinctive on its website, and how programmable they are. Presumably, integration with Eagan matrix makes it easier to access and use in music making. Thanks

[@loopop]

Thanks! I didn't count them but I believe I addressed them all in the beginning of the video - at least the ones that are unique to Osmose. I didn't discuss tap, which is simple velocity detection, and release triggers - both of which many synths can do.

[@davlippo7]

Ref. previous related message. So I went back to testing and discovered a work-around seems to work fine best I can tell. EE contacted me to inform me that it's not possible to control one Osmose with a second Osmose because of the MPE+ information. Odd they have the DIN input if it doesn't work for a second Osmose and why would you connect something lesser to control it? Makes no common sense. Continues as follows.............. I have (2) Osmose attached using the DIN and set the controller (primary) unit to "1/5 default" and the second unit (being controlled) to "2/5 DSP in" and the only issue are the random silent notes occur in some places between 3 to 6 notes only on the controlling unit. However in this configuration I can freely shop all voices on both units without an error. Once I chose my primary voice for the controlling unit I simply change the setting from "1/5 Default" over to "5/5 cvc" and the full voices or all the notes return on the second unit. I can then freely change any voices on the second unit at will, nothing adverse happens. If I want to change the primary voice again I have to set it back to "1/5 Default" so it won't shut down the second unit. I think it detects conflicts and goes quiet and has to be powered off/on. It's a very slight annoyance but works without a computer and I haven't been able to detect any voice errors or anomalies. If the adjustments are this simple why couldn't a "safe mode" for shopping voices be added and then lock it down once set? IF the user tries to change the primary solo voice it switches automatically back to safe mode as not to disrupt the second unit. Not much to that I wouldn't think and might even be easier for a programmer to implement in the background you wouldn't know it was happening except perhaps via an indicator. EE said no one has requested a two unit rig however that was my first consideration so I'm 100% sure some people would want that capability for several obvious reasons. 1) Layering without taking up key space and reducing polyphony plus you can always play both anyway when stacked 2) If one unit goes down you have a safety net because nothing is error proof 3) Why wouldn't you want to do this, two are always better than one? 4) Why does it have a DIN input if there's no purpose for it or it can't handle MPE+? 5) No computer required because layering and splits in the editor are a pain to program and save etc. It's pretty spectacular and I'll be posting a video eventually.

[@ToyKeeper]

"... and they're NOT getting it back!"

[@davlippo7]

A problem with the editor window which gets so large it's off my laptop screen. I've tried all windows scaling and resolutions etc. The options to stretch and to minimize or shrink are gone from the matrix display. Spent an hour with no luck fixing it. It automatically scales itself larger than computer screen every time I open it. It's the auto-scale inside editor itself in case anyone else has this issue. I'm thinking it's the computer so totally missed that on the top left.

[@Daphoid]

Fancy! Was already on the wish list. This first half of the year is a pulsar. But maybe this’ll be a winter treat.

[@balusachin1]

Is semitone transposition not available on osmose?

[@D-One]

It's amazing to see true innovation after all thease years!! We this tech adapted on Pad controllers too

[@T0B1_N01C]

26:34 I wanted to ask you, if the automatic Mouse-Size-Reduction-Thingy is a feature of the Recording-Software or another app? I need this to find my mouse better on screen 🙈

[@loopop]

On a mac if you wiggle the mouse it increases its size

[@T0B1_N01C]

thanks for your answer, but i mean if you don't move your mouse the pointer gets bigger. (as in the specified timeline in your video) I haven't seen that feature yet.

[@loopop]

@@T0B1_N01C oh that’s odd - it’s not an OS feature and I didnt do it - perhaps it’s an artifact of the recording software because I don’t see it happening now

[@VEsound]

Hi loopop, I agree with your pros & cons having the Osmose for a few months now. The only con I would have added on the video is the missing favorite presets feature. I can't imagine Expressive E not adding it later on as there are already a lot of presets and no way to put some of them on a fav section of the screen. Pretty sure you agree with me on that.

[@loopop]

yes for sure faves would be nice, for now I just save the ones I like most to the first slots

[@johnhurd3257]

The first user slots?

[@loopop]

@@johnhurd3257 yes

[@VEsound]

@@johnhurd3257 Hi John, user slots are for user patches and not for duplicates of factory patches right?

[@leroycarr9]

I always appreciate your in-depth reviews. Thank you, truly. I have watched most every video on the Osmose and the potential of this instrument interests me more than the actuality. I’m not sure that entirely says what I mean. I want to play it. To hear a melody coming alive under my fingers in a new way. I am a pianist and I don’t often think about the limitations of the piano as an expressive instrument. The piano has its own way. But I have still at times yearned for the possibility of shaping a phrase like a cellist or a jazz saxophonist. This Osmose seems a step in that direction for us keyboard players. I will find out. I put a pre-order in in January. (And I will watch your video again when mine is in hand!)

[@danball4410]

How do you like your Osmose? From this comment it seems like you should have had it for a few months now. One question in particular: can you play it like a piano in classic piano mode, and does it play normally? Thanks in advance!

[@andrewbird8624]

There is definitely a 'sound' with Haken. Reminds me strongly of my short time with Kyma.

[@FrancescoPrevitali]

Thanks for the video as usual! Great work! I´m wondering about ADSR controls? Is there any? I didn´t see any in the synth´s controls. Thanks!

[@ronaldlundbohm815]

Good morning thanks for all the tutorials. I just got my Osmos. I noticed the travel of the right Slider doesn't travel all the way up. Is that normal?

[@loopop]

My pleasure and no that doesn't seem normal

[@ktreier]

@loopop I’m curious what Firmware and DSP versions you were given. The instrument I received (demo unit from a major retailer) features notable digital clipping on many presets, and other users have reported the same issue. It makes many presets almost unusable.

[@loopop]

I didn’t update the firmware - if I remember correctly 1.06 but don’t hold me to it…- it’s not in front of me now

[@chrismartin6690]

I have a roli seaboard and I come from a clasical background,, I have to say the Roli is better has more flexibility and expression.. The Seaboard works with multiple hardware synths which are MPE compliant and also work with SWAM etc on Ios and Microsoft .. I know its subjective but that is my preference.

[@OrganicGreens]

The addition of an organ style volume pedal would be awesome with this synth. Not just for volume but for the filter and other things to

[@V3nom7]

It's already here. You can plug 2 pedals to control whatever modulation want.

[@loopop]

you can map its two pedals to any parameter you like pretty much

[@V3nom7]

@@loopop Hey copycat ! :p

[@brandonaikin5445]

Wow, the instrument is so cool. The matrix software, however is so off-putting. No one wants to look at that mess. Apparently there was no thought put into user experience on the companion app. I forgive them because the presets are such good starting points for modification. Overall, I'm happy. Thanks Loopop for the intuitive in-depth tutorial

[@yvesbajulaz]

Isnt the keyboard kind,of what Roli has been doing for a long time?

[@loopop]

no

[@stefanomarcolongo9200]

How sturdy is the keybed? All those moving parts ....would that be a critical issue for an intense professional use of this instrument? Is the overall instrument solid...made of metal?

[@loopop]

I discuss this in the build section of the video but obviously can’t assess how it would stand rough treatment

[@Planthier76]

How does the lumatone and the osmose compare ?

[@zulusound]

Thank you for this in depth overview, @loopop. I just got mine, I noticed that all my USER presets are empty, whereas at the end of the video (your fav presets), they look to be USER presets. I assume they were not created by scratch as you called them presets. I wonder how I could get these loaded on mine?

[@loopop]

Yes, user presets come empty as they should, and indeed I didn't create them on my own. In preparation for this video I played all the presets and saved my favorites in the user locations.

[@zulusound]

@@loopop thanks 😊

[@HeavyListeningMusic]

What is that wonderful horizontal display superimposed above it?

[@loopop]

It's not really there unfortunately - just an overlay screen capture I added in post production

[@HeavyListeningMusic]

@@loopop Sure, I was just curious what the source of the overlay was.

[@loopop]

@@HeavyListeningMusic it’s the surface visualizer part of the Haken editor

[@wesleyforman8391]

I have a first gen seaboard 49 with equator 2 and all the sound packs not looking for another MPE controller but I do like the idea of having actual keys

[@Chinintoo16]

Hi loopop, awesome video as always, I’ve often wondered where do you keep all the synths you do for reviews? Surely they take up a lot of space

[@loopop]

Thanks! Yes it's pretty insane, I rarely sell them because I keep them for reference. I have a pretty large basement - part of it is a big setup and others stacked on shelves.

[@sea-saw2654]

​@@loopop hope you live on a hill, I'd hate to think that basement ever got flooded.

[@macronencer]

@@loopop Would love to see that basement on a guided tour video at some point :D

[@GizzyDillespee]

Hey thanks for showing your mpe settings and ranges on the Vector!

[@alice10888]

Thank you. So you can control Roli’s Equator2 with Osmos?

[@loopop]

You’re welcome, and yes you can

[@Quantum-Chaos]

Can you control it via software? That LCD is great, but boy it's rough watching you go through the menus.

[@loopop]

Yes and no - the Haken Editor lets you edit presets as I show in the video, but some basic synth control parameters are only available in the synth

[@See_Sharp]

I think aftertouch travel is the same with white and black keys, its just that the white key is longer and you are pressing farther on the pivot.

[@loopop]

Interesting point but no - I checked, and the part of the white key that's adjacent to the black key goes about 2-3mm lower

[@damien4364]

What a wonderful and detailed video! Thanks! I still have a question: is it possible to use the EaganMatrix Haken Editor as a VST controlled by Osmose in midi Ext mode ? It would allow me to create complexe live setup with Ableton where I need to layer, split, change preset instantly without cut, and layer all of these with other VSTs. I really struggle to find the answer

[@sebastianvega4576]

did the software improve in the last year? is the company supporting with updates?

[@loopop]

Yes, 2.0 released recently and promises for further updates coming

[@grindhouseglitch]

I can hardly wait to get mine! A few more weeks.

[@Thoracius]

that lag seems infuriatingly frustrating. yikes. have they not fixed it yet?

[@cldbrbn6070]

I ended up cancelling my preorder. May come back if there’s a different product in the future. As great as eagen matrix is, the programming interface was impenetrable to me and I wasn’t interested in a preset machine. And as a controller only, I decided it was just too pricey as I find knobs, faders, CLAP polyphonic modulation and multitrack layering sufficient for the slower pad-like sounds it seems to excel at. Seems like a hit though, so I’m excited for them and innovation being rewarded

[@davlippo7]

I suppose many tubers shy far away from what most of us want to know and loopop is probably one of the few who could pull this off is for example synth ratings, perhaps in price ranges but not limited to that necessarily, which synths are the the best value based on 1) sound and 2) features 3) Intangibles etc. Let's face the reality of the fact that not many of us can go but 20 different synths and decide which is the best and return the other 18 or 19 within the return window. Videos that illustrate features help but don't really tell us which is best for our needs or budget. There are just way too many options. I own 6 or so at any given time and I still don't know which are the best of the ones I don't own. We just don't know whether Iridium beats Osmose or which Oberheim is the best or which Moog, either between the same brand or head to head with other brands. I think Osmose beats everything for the price hands down but I really only know about what I have in front of me. Only the folks who deeply understand most everything and have access to them can really tell us what is the best and what is average and what isn't worth a try. That would be really useful to a great many people. Manufacturers might not like it but then make a better product.

[@loopop]

I've contemplated making a video like this a lot, I'm sure a lot of people would want to know and as a creator that means clicks, but I firmly believe there's no such thing as a best synth for everyone. Actually, I don't even know what's the best synth for me. Sometimes it's a small minimalist synth, sometimes a fully featured one, sometimes a software synth. Sometimes I want subtractive, sometimes samples, sometimes FM. Sometimes I hate menu diving and sometimes I want all the features despite menus. There's no such thing as a best synth IMHO.

[@davlippo7]

@@loopop We're fortunate we can acquire anything we want but I have to pay full price or buy used but I'm always second guessing "is that one better for me?" The grass is always greener on the other side. But for those who can only have 3 or 2 or 1 it's a big deal and that's probably a great many people. You would have to categorize for comparisons. You know as much or more than anyone about a lot of these so you could do the best job no doubt. Maybe have a classification of the types you mentioned, one respective of price and another not. Which ones have the best sound quality which I think is the most important. Sometime they bog units down with features that catch our eye but it might not be the best sounding. Stick with hardware synths to begin with. You could do a your personal favorites list too like the ones you can't get rid of. Units that do multiples or have more than one engine like iridium, how does it compare to other similar options on the market. It might be one of a kind. I gravitate toward simplicity like stage boards SKpro and YC73 but I bought (2) Osmose units as controllers so I love modules, saves space and I don't need 10 sets of keys sitting around plus some keys aren't that great anyway. With the iridium and OB-X8 modules I'm covered. I will buy a module way before buying keys so the unit with keys better be outstanding. Maybe do a module comparison as well. Another item hard to predict is whether or not the manufacturer will improve on the unit via OS updates however we can't speculate into the future. I think we're living in a time when there are so many options we need help sorting out the mess and congestion. I'm rather surprised once I paid more attention that so many options exist and keep on coming. The 80s are coming back! I know they keep track of what we listen to and I'm always playing 80s stuff. The musical diversity was astonishing back then.

[@Demonstrations_SP]

It is my understanding that there are key-release functions on this instrument. I would have liked to find out more about that feature but it was not mentioned in this video.

[@loopop]

True - I focused on what makes it special so things that are available on other synths weren’t covered since the video was getting quite long as is

[@pachde]

This is something that is programmed into a few of the presets. I'd name an example, but don't have an Osmose.

[@Marcin-lp4qi]

The best synth ever

[@gregkrukemeier2003]

Great Review!!! Thanks for the editor review. Matrix patching is something a Eurorack user should pick up on more naturally and seems less difficult, at least to me now. Yet finally a keyboard that has the instrument expressiveness of a stinged/brass/flute/etc. It will be nice to see when someone incorporates this type of key bed into an analog instrument like a Moog One or Trigon quickly come to mind.

[@OmniTorch]

@loopop When are you dropping the Polyend Tracker Mini review?

[@loopop]

I don't have one yet...

[@mzekonis]

Great review - as always. Mine ordered and possibly here by end of April. I wonder why it is not possible to play the Egan Matrix and send external midi at same time. Hopefully a software upgrade takes care of this - maybe at the same time they get the sequencer midi-out working.

[@ghavinga]

I have teamed the Osmose with a Hydrasynth and can play both at the same time, layering them if needed. This is a confusing topic as the Osmose behaves different depending on which menu is shown on the display. But certainly you can play the engine and send external MIDI.

[@CrazyUncleSam24]

Can you imagine if you could map the side-side motion to stereo panning? The idea of being able to expressively control sound-stage in real time is so cool it's making me mad that it's not possible with the firmware.

[@loopop]

yes it should be possible if I remember correctly there's a relative mode for X, but I didn't try it

[@CrazyUncleSam24]

@@loopop You just made my day and cemented my wish list. Thanks!

[@cperkinscperkins]

Excellent review. I'm very excited about the Expressive-E. I've heard several say that it has great analog and analog-like instruments. As I've haunted the various KZbin demos I've heard the amazing JennyBrass, several great drum sounds, and flute/woodwinds that sound amazing. But what about violins, guitars, organs, harmonicas? These seem like good matches to the Expressive-E's capabilities, but I haven't seen them discussed or demoed yet.

[@loopop]

Thanks! I think it does those quite nicely - if you check out the continuum demos you might get a taste for those - it's the same engine

[@gauthiersoubirous2706]

In waiting list for end of June. But Eagan Matrix would represent a big learning curve for me... I am not that much "PC musician". Dunno if it would be worth the money as I would mainly use it as a standalone though 🤔

[@bricelory9534]

From the massive amount of presets I've heard in different reviews, I don't know if you need to worry about the Matrix to get your money's worth out of this. And this is coming from someone who automatically just starts building patches from scratch rather than see if there are presets that work for me.

[@ErraticFaith]

Personally the biggest issue I find with it, isn't that its impossible (just takes time) -- its that it's a boring chore to use. You know how for example; that people scoff at the Korg Opsix for its build? But in general they wanted it to present 'FM in a more approachable way, over the less welcoming mod-x' - and it did so to a degree. Thats sort of how I feel about most things. You can have something that rather than hands on fun --- is a deep dive/UI chore. Some feel similar about their motives for choosing a DAW. EM is like going to a different country and trying to learn math, when you can't yet speak the local language. Doable. Easier with time. But hardly as fluid or 'jump right in' as other things with just as much musical output power. I find it ...unmusical. Because it's just so robotic and lab-like. Sterile. And that's enough to make me thing 'bleh, I'll keep playing with hydra deluxe'.

[@ronenpeled6428]

Hey, Ma Nishma? Thank you for all the work and the time you invest in those helpful reviews. Do you think the Osmose can be also a good controller for Orchestral Mockups?

[@loopop]

Thanks! Is that a particular product or do you mean in general? If in general then yes, I think its precise and gradual control of pressure/attack/release would do well for orchestral sounds - you'd just need to program the VST's response properly like I mention in the MIDI section