In an analog or hybrid instrument there are solid architectural reasons why you don’t want to dynamically allocate voices across fixed VCF and VCA resources. In a pure digital instrument, it’s usually either per-layer effects, UI complexity, or both that are the limiting factor. Running sixteen independent effects chains is still a very real computational burden and takes quite a bit of dedicated memory for delay lines.
You are talking about local parts, I was talking about MIDI parts. Voices produced by other instruments. Analog/Digital has nothing to do with it, it's simply a controller capabiltiy. MIDI part = Zone in Studiologic terms.
No doubt Multi-timbrality is alot harder. You don't need it at all for huge layers, you just need instruments to control.
So what I am saying is: DM12 mono-timbral, I understand. Hydrasynth there is no excuse. Any board purporting usefulness as controller should be able to use MIDI channels to layer other synths on it's bed beyond two or even less.
Where is my phaser?
Picard.....I don't watch no stinking Picard. I grew up on the original episodes as they appeared. Picard is very hard to watch after that. Way way way too correct.
David Emm: The chances are quite good that no one but Jarre would ever haul one of these lovely boutique beasties onstage at all.
>> Barring Global Pandemic you will be seeing this board everywhere. You think it is fragile? The sample had more hands on it than..........I better not go there LOL. It isn't even expensive, compared to a nord.
Its expensive compared to a wide range of somewhat lesser MPE instruments that are more readily accessible in goals and price. Its also waaaay over here from a Nord anything, heh. If its hand-made aluminum-body tough and shrugs off being dropped, then it can handle touring and my opinion is a roadkill Hot Pockets.
>> Why do you think the pre-order sold out in 3 days? And the next one in less than a week? Becasue nobody is going to use it?
No! I think a few serious players, some of them pro, may embrace it and knock us out. Next will come those with ready cash for weird devices, divided between, lets say, certain studio owners who like the tax break and a mixed bag of players who will range from Meh to near-Holy Bleep, the eventual range of offerings TBD. Then people like me who could scrape a bit and manage it, but would at least semi-wisely prefer a starter ROLI and a couple of new libraries for my existing tools. Then the underbelly who labor over only Volcas, UNOs and iPads, scowling at the rest of us like Gollum. Then that particular branch of modular players who don't really exist in our musical dimension anyway.
>> Should we bet a 6-pack, delivered, on it's future on stage?
NO! I don't imbibe anymore and besides, I need that money for a starter ROLI. I'm skeptical, but I'd love to see MPE become more recognized. Its weirdly beautiful, even though its wings aren't dry yet.
Irving Gertz: Idol Of My Youth/ Soundtrack composer for "It Came From Outer Space," "Abbott & Costello Meet the Mummy" & "The Creature Walks Among Us," 1915-2008
David Emm, have you played the ROLI? I was talking to a friend who is in the know on this stuff, saying I was thinking about getting one. She asked "Do you like playing music on a water weenie?" (I assumed this meant a pool toy, in retrospect, I'm not sure what one really is, but it is evocative.) Sure enough a week or two later I played one in a store. The ROLI that is. The tactile experience of the ROLI Seaboard is nothing like a traditional keyboard and after five minutes I was thoroughly convinced it is not for me. Said friend commented on some of the alternatives. She likes the KMI keyboard, but says all the existing technologies for multidimensional expressive stuff are unreliable for live performance compared to run of the mill keybeds. For some styles this isn't too big a deal, but if precision really matters, then they're a bit of a trick.
So this gets to the Osmose. If it delivers on what it is trying to do, it should be a first class keyboard with an extra dimension of expression which can be used intentionally and reliably. I of course haven't played one, but that is why I am interested in the instrument.
Given the evolution of MIDI standards happening now, and the general vibrance of the synth biz, I expect we'll see a fair bit of expressive keyboard stuff coming out over the next few years.
I think David’s comments are mostly in regard to live use (“future on stage”); perhaps even thinking specifically about most folks here that do the typical weekend gig thing. Does the EaganMatrix provide the bread and butter sounds that are needed for these type gigs? Or is the thought to midi up to another sound source? Last I remember most weren’t crazy about hauling and setting up an extra board- especially if it’s used almost exclusively as a controller.
How does the Osmose feel as a piano or organ controller? Better or at least on par with what folks are currently using? Of course we all know how much everyone here adores 4 octave boards. Or maybe this is replacing that latest and greatest mono synth that you just had to have and justify. All for the glory of that added expressivity that the audience has been begging for and is so important for bringing in more income.
Yeah, I kind of see where David is coming from. Btw what kind of beer we talking about?
I jumped on the preorder partly because of the preorder was just over $1000 US. Everyone has their own idea of what is expensive but I was willing to pay that for the Osmose.
I tried the Haken Continuum, which runs the Eagan Matrix synth engine, at Discovery World in Milwaukee and was quickly sold on it. I guess the presets would not qualify as bread-and-butter but they're also not so experimental that you can't use them in a pop song. The Continuum with EaganMatrix feels like an instrument, in the way that the sound is so responsive to pressure, finger vibrato, etc. I read that the Expressive E and Haken folks are hard at work on presets specifically for Osmose - probably to satisfy demand for bread-and-butter presets.
I'm not really pursuing virtuosity like Jordan Rudess or anything but I like the expressive potential. That guy in the Beach Boys was no virtuoso on the Ondes Martenot but he sure came up with an iconic part for "Good Vibrations". BTW, my buddies and I tried a Roli Seaboard at Chuck Levin's - we were all surprised how responsive it was, but then again it was connected to a laptop running a softsynth. I preferred the Continuum over the Roli for single note lines but it's harder to play chords on a Continuum.
This book happens to be on sale today so I’m ordering. It contains 12 piano etudes as part of the study of the Indian Melakarta system. I cannot think of a more appropriate piano lesson book to work with on the Osmose.