Aww Jeremy.. so wholesome :)

someoke might be ... and this is just me spitballin here.... an ok dog name for a husky or something like that. or a cat named husky? wait what are we talking about?

Ohmylord

Osmose you say? That’s also trans.

You had me at MPE...

Out of curiosity, do you have an opinion on what took the industry so long to get around to improving key expression in new and novel ways? It seems like there was a point in time where a lot of companies just stopped doing R&D for those types of innovations. Was there a logistical, manufacturing, or technological hurdle that wasn't overcome about those ideas until recently,? Or did it really just take a passionate team of experienced people like yourselves to come along with a clear vision to make this happen? Because the corporate world of big synth production really doesn't care to innovate that much anymore, it seems. Kudos on this fantastic synth, prohibitively expensive for someone like me but it seems absolutely phenomenal.

@@zoned7609 It's just the cost of a laptop. Seems worth it if you're serious about your production.

Please add CV outs

1948 - Inventor Georges Jenny Demonstrates the Ondioline kzfaq.info/get/bejne/nt9lqpp335bUdKM.html

I REALLY wish I could afford one!

It really is a blast and super satisfying! I especially like that it can easily make the little things play a major role and becom the center of an entire track. However as you can perform you also must perform. It is closer to recording an acoustic instrument in this as well, and miles away from the usual MIDI synth-workflow, where you can edit things after the fact. One can't overemphasize that the expression is coming from the player and not the instrument in the end. I showed it to my mother, a professional violin player. She listened for a while and then said she wasn't sure, if this should be called vibrato. She was a bit more impressed when I removed the stabilisation. But still, there are levels to this and you won't sound like a professional string section trying to replicate with each finger what individual musicians trained for decades. Then again you have to love how approachable musical expression with the Osmose is. It really doesn't need much prior music education to enjoy. Kids love it instantly and so do people who not playing an instrument. I also (have to) love that you really dont need to be a pianist to perform with it (it would definitely help though ;). I do also notice that I am spending more time mixing it in comparison to synths, again a bit like mixing acoustic instruments.

Please make a video of that!

That sounds fantastic. Yes! Make some recordings to share. Cheers!

I'll try to grab a camera for our next gig :)

Makes total sense!

that's cool and I guess I agree, but does this imply the piano is not as expressive as vocals or a flute? I'm learning to play the piano and that's a genuine question

Have you used it as an MPE controller for some of your other synths yet? I find I use it probably more as a controller for my GS E7 than for the actual inbuilt sounds! It's wonderful for ambient big synth pad improvisations with a good MPE compatible module.

Yeah, you’re actually not stuck to the Eagan Matrix, it’s an incredible MPE controller.

@@MilesAwayOfficial have you used it much with the OB-6? I’ve got it working, but I can’t seem to find useful mappings of initial and after pressure-usually just one or the other. Maybe MPE on the G7 is more flexible than the OB-6?

@@MilesAwayOfficial I've not really given it enough time for using it as an MPE controller for other synths. I did try it as a controller via Bitwig for controlling ITB synths but ran into issues and so wasn't very impressed, but some of that may be due to user error. I'll try again soon and see if it works well with maybe my Iridium Desktop. Anyway, my little rant wasn't really aimed at the Osmose's capability as a controller, it wasn't really my main purpose for it since I don't really have the space for it to be a permanent part of my setup (and I still prefer my NI S88 for most of my production). Maybe I can somehow fit it in yet.

@@tomhallsonics I know that, my issue isn't with the Osmose as a controller.

This reminds me of when Soviet Womble played Boneworks and kept talking about how much he wished he could show his grandpa this tech. Don't apologise for such a nice story!

superb. thanks for sharing this.

Like seriously

Me too, as mentioned above, I'd like to see what his mom did with it.

not sure about the c major in there

the parallel universe you are describing here is the only parallel universe one would ever actually need

@Cheeses_K_Riced no but it would still be interesting to see what it would have been like...

There is always a vangelis fan boy in every single synth video. Dude, he's overrated as F. Get over it.

It'll be interesting to know how it maps to the SWAM cello - Don't know if you use it but SWAM is the very best in expressive orchestra. The second best cello for me is Virharmonics updated Bohemian Cello.

@@Garflips I am indeed very interested in hearing how it will interact with virtual instruments like these! For clarity, when I said cellist primarily, I meant a physical one! 😊 I only bring it up because I find how I approach synths and music is heavily influenced by having a strings instrument as my sort of "native musical language" - that is, it definitely affects how I think about textures, chords, melodic content, and so on. And for me, the Osmose looks like a controller and synth that will allow me to really explore those sensibilities in ways I love. And I am *very* curious how Osmose plays with other modelled instruments! Sadly, I think I've heard that the pressure glide feature doesn't translate to other software, as it is processed internally on its own engine.

@@bricelory9534 I have an electric and an acoustic cello myself, though I'm primarily a guitarist and I play some keys. I have two K-Board Pros I use with SWAM Cello and it works great to control vibrato as well as timbre and bow attack - of course the parameters you assign are up to you. I hope to post some videos soon showing my setup which has reached a point where I think others might gain from some of my experience.

As a cellist, the existence and possibility of maybe being able to buy this in the future, makes me want to learn keyboard

@@cellokid5104 totally worth it! I was able to buy one, and I absolutely love it. It's interesting because basic keyboard skills translate of course, but I've found that being a cellist (or other strings player) I think makes bringing out the expressiveness of the Osmose easier than it is for trained pianists - they have a larger hurdle of having to rethink how they play the keyboard, where the expressiveness makes sense with our primary instrument very well.

That's a really good point. One work around, depending on what you're using it for - is if you're working on chord specific work is to turn the stability up to max or near max, so you can hit the notes any old how and get them in tune. You lose expressive vibrato, but it can be worked with melodic lines in another pass. Obviously a workaround - but it might be an option, depending on workflow. (I mention this all not because I don't think you've thought of that, just for the sake of others who might not be as familiar with it)

i think it has an option to where you can’t access vibrato until you fully press the key into the key bed, idk if that would help with your problem tho

@@bricelory9534 88-keys with a key split feature on that? 🧞‍♂️ low end solid, top end vibrato

Nobody ever had to think about a vibrator on a keyboard that way. This is completely new, the vibrating is always done with a side-control wheel, not the keys! You may see key players doing the wiggle thing but it doesn't do anything. I'm happy it does now :D

@@kenaestheticfm the Osmose currently is only available in 49 keys, I believe. I suspect a larger one will be very expensive and price out most people. You can split the Osmose keyboard, and can set the range of the split, but I don't know if both sides have unique sensitivity settings, so I don't know if that would help much for the proposed issue.

I'm part (a minor one) of a team at the Canadian Museum of Science & Technology that is working on a functional replica of the world's first true voltage controlled synthesizer - the Electronic Sackbut, invented by research physicist Hugh LeCaine, here in Ottawa, between 1945 and 1948. While the original is here in the collection (along with over a dozen and a half other synth inventions of LeCaine's), it is not in any sort of playable form. But it had aftertouch and lateral keyboard-sensitivity for monophonic vibrato by wiggling keys. I mention it because Ed Eagan, a local, is also part of the team, and we're using a pair of Eaganmatrix modules for the sound engine, as well as handling the many performance controls the Sackbut employed. Not quite an Osmose, the Sackbut anticipated a lot of things we wouldn't see showing up in commercially available products for another 20-50 years. I like to joke that LeCaine was kind of the Charles Ives of the synth: working completely in a vacuum and presaging what was to come decades later . His notes suggest that he was aiming for a tool with the instantly expressive control of an acoustic instrument.

@@markhammer643 Oh man! That's really exciting! I've never met Ed, but he did the score for a doc I worked on named FLicKeR. I'd love to meet him one day, and now I'm very excited about the re-invention of the Sackbut!

@@inchoate As am I. The goal is to have something that musicians could book time with, and perhaps record. We've tried to keep true to as much of the original, both cosmetically and technically, as is possible, replacing some things with more contemporary tech where necessary and feasible. LeCaine didn't have even a fraction of the technology available to the the Expressive E folks, when he came up with the keyboard design. It has been a nightmare to keep functioning. I set it up nice and playable on a Monday, and by Wednesday it's making random notes. As near as we can tell, it used a resistor ladder, but if I understood correctly, the exponential change was not in the oscillator itself, but rather in the resistance-change per key. So there are various trimmers across the 49 keys, to adjust for proper intonation. That, and the reliance on tubes and big honking capacitors, made for a fairly unreliable device. Great when it worked...when it worked. Though using a reconstruction of the original keybed built for the project, we're using a more standard 100R resistor ladder and the MFOS single-bus keyboard controller board to generate a gate and 1V/oct CV, and driving the Eaganmatrix boxes with that. I doubt we'll exploit the full power of the modules (and there is *GOBS* of power there), but as an MPE-compatible device, it should handle all the performance-controls admirably. Sadly, although we have a surfeit of LeCaine's notes, and some audio recordings of the unit, in addition to many B&W photos of him using it, there is no filmed footage of him performing with it, so the audio-visual connection is hard to make, especially with respect to the left-hand finger controls for shaping timbre and formants as the right hand plays the keys. But it's an absolute honour for a synth dweeb like myself to be attached to this, and see where the roots of something like the Osmose begin. I feel like those paleobiologists that found the near-intact baby mammoth in the ice, recently.

A relatively simple way to implement aftertouch, like it was done on the DX-7, is a resistive, pressure sensitive bar underneath the keys' lower end. It changes resistance upon applying pressure to it, acting as a global aftertouch control for all notes. A more modern way could be implemented using weight cells for super precise control or simple pressure sensitive pads spread out under the keys. A keyboard using rubber dome tactile switches can in principle be used to measure pressure, as the resistance of the dome contact changes based on pressure as well. Little known is, that the PS3 controller actually did this with every button to provide analog input not only on the thumbsticks and triggers, but it was very rarely used.

@@nrdesign1991 The electronics part is quite obvious if you think about it. Strain gauges are basically the only way to do it. Problem is: I could not find a way to make it work with my mechanical keys. And making it 2D makes is even harder. I don't own a 3D printer so making everything at home is not a solution...

@@madrigo Get your hands on some Velostat. If you've ever etched your own circuit boards, you're already in good shape. Velostat film over PCB contacts connected to a voltage source + ground reference can provide both XY control and velocity measurements. For further education, Alternate Mode pioneered a lot of this type of triggering tech in the 80s with their FSR-based MalletKat and DrumKat percussion sensing units.

@@DrMackSplackem thank you!

The Osmose has these long black bars continuing at the back of the keys. Maybe you can use left and right of the center offset narrow angle leds and photodiodes to measure movement into each direction?

Damn I want one

Yes, that's not much more than a regular pro-level synth that has nothing special about the keys.

Naw, it’s properly priced. 4K would be some monster new 88 weighted key workstation with after touch and all the recording bells and whistles.

SHHHH. dont tell them

just said the same thing

it was already invented, and for some reason shelved.. BEFORE we were born. 1948 - Inventor Georges Jenny Demonstrates the Ondioline kzfaq.info/get/bejne/nt9lqpp335bUdKM.html

I have a linnstrument as well and love it to death and play it almost every day, but I also still like using a keyboard as a different configuration that I tend to express differently on. So this still feels like an upgrade I'll have to get one day.

@@politesociety makes total sense. It's good to have options. I was originally really drawn to the seaboard 2 (and strongly considered getting one) until I saw the linn's layout.

@@ChrisCypher I also wanted the seaboard but when I got my hands on it I didn't like the feel. I like the lack of travel on a linnstrument as I generally like to play pretty softly. I have a shorty version, but have sometimes wondered about getting the longboi as it would be nice to set up splits in a less cramped way.

@@politesociety yeah, I could see the squishy keys being tough to learn. But I have to say, it's definitely a "sexier" instrument than the linn and has more vertical axis (which can be a good or bad thing depending on what you're trying to do). yeah, I have the linnstrument 200. I figured, if I'm gonna be paying this much anyway, I may as well go all out and get the longboi. ha. I'd rather have the space and not need it, than start playing and wish I had a bit more space.

This vid is so inspiring, but I'm still drooling over the Linnstrument so hard

@@WorldWideBasementVibes If you prefer keys I would think the Osmose would be your gig, but I am not a native keyboard player, I'm a guitarist and the Linnstrument was certainly a dream come true. Some of the players on YT are amazing! Roger gives personal support, helped me out when I didn't even buy it from him. He is an incredible engineer and human being.

@@Skiddoo42 Yes! Fellow guitarist here as well. I've gotta at least try one at this point.

Hi! Do u use it?

The Ondioline is fantastic ❤

yes. i have mourned the loss of the ondioline for years, since i first learned of it - even though it came and went before i was even born. 1948 - Inventor Georges Jenny Demonstrates the Ondioline kzfaq.info/get/bejne/nt9lqpp335bUdKM.html

Just a heads-up, you probably will get it quicker ordering direct. Some retailers tend to post the most optimistic lead times of the "next batch", which would likely already be sold and awaiting shipping. Right now most preorders are for the Nov/Dec batch AFAIK 😁

@@BennJordan thank you 🙏🏻

invented in 1948 - Inventor Georges Jenny Demonstrates the Ondioline kzfaq.info/get/bejne/nt9lqpp335bUdKM.html

@Dead Dials Maybe we won't be beaten by conciousness, but by intelligence. And that shit's growing exponentially fast. I mean, I'm still not scared of A.I. but fascinated. But I think things will go very weirdly very fast in our lifetime.