Zynthian is a loose federation of synth plugins. Only a small set of them support MPE, Iām aware of two, Surge and ZynAddSubFx. Although MPE could be added to other plugins like Aeolus youād need to go and petition the upstream developer.
@ Baggypanys and Tunagenes Thank You!
The flavor of Surge in Zynthian does MPE? And ZynAddSubFx? Iām trying to think how to configure X, Y and Zā¦
Maybe I need to use another rig to make presets then bring them inā¦what linux flavors should I consider these days, and could anyone tell me the versions of Surge and ZynAddSubā¦ I should load for compatablity with latest Zynthian (I have 4.6 kit) Thanks so much.
I have old laptops lying around I could re-deployā¦
I get an error message in āxmlā format when I click on that link: AccessDenied
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I think I can get the MPE spec directly, just wanted to let you-others know.
Nice to read, every now and then, a contribution to the Zynthian forum from the specific angle of classical music, which I also hold as one of my main fields of interest.
Indeed, I too am considering the idea of getting an Osmose keyboard one day, for its apparent capability to highlight the linear individuality of each musical line, especially in contrapuntal constructs like vocal polyphony and instrumental concertatos.
Until now, the prevailing focus of MPE technology seems to have been a kind of music-making essentially diverging from the twelve-tone inherent substructure of Western repertoire, be it a sort of Indian Raga on a Linnstrument or an ambient improvisation on a Roli Seaboard. Such potential avoidance of the tonal/modal framework can be a good or a bad premise, depending on oneās aesthetic standpoint and objectives.
The Osmose, while apparently advertised for the same kind of musical forays as its Roli and Linn siblings, seems actually more suitable for revisiting classical and modern music in an innovative electronic vein, either in performance or compositional contexts.
Thank You We have much new scholarship, and a full blown revival of historic improvisation techniques, āpartimentoā, and Bachās closely related pedagogy, where the āroman numeralsā we use on lead sheets are useless, counter-productive in fact. We know also āwell-temperedā is not āequal temperedā: a compromise well known but rejected at the time as dull. You canāt hear Bach in equal temperament, but itās nice anyway. The pure thirds, strained 5ths and ābreakupā in distant keys playing 1/4 comma meantone present a vivacious harmonic environment which is learned and appreciated with exposure. Iron-frame pianos are very hard to tune this way. Increasingly the incredible harpsichord performances on YT present as much of this as speaker technology can manage. To get past that bottleneck, I have a āPryamideā coming from France:
But Iām also looking for a real harpsichord, which is very tricky as bad copies abound. Osmose takes the ākeyboardā layout and general characteristics, and adds āactionsā more useful for a synthesizer, which has been held back by āforte-thinkā. The result, I hope, is a more flexible way of making sound, which can play a part in traditional revivals, and also push into novel soundscape. Schoenberg? Well, turn on the radio. No sign of him. LOL, or Stockhausen. That obsolete tonal harmony? Everywhere. The out of sync evolving riffs live on in Eurorackā¦but they sound best to the invested; increasingly quantized toā¦harmonies. I have sequencersā¦but the time to get them working to interesting effectā¦not yet.
@Wapataā¦entertaining, but misleading videoā¦the wiggle is the least of the Osmose. The new āpressureā control is the real news, which is not clear until you touch it. Andrew, Shoebridge and others donāt get the impact of MPE pressure across. The PolyAT is also more useful and impressive than the wiggle, which is currently hard-wired to poly pitch-bendā¦on slippery keys. Loopop explains this the best. Once the wiggle can be directed to other parameters, it will be more useful. EG: wiggle to LFO to pitchbend would be way more useable in play, since the lateral action is progressive and polyphonic. Then you donāt muddle things trying to wiggle a single finger, but just push it sideways.
The original bebung:
Iād love one of thoseā¦has to sound fantastic in person. This was considered the most expressive keyboard of all.
I actually got one of the first osmose units back in february ( took a gamble 2 years ago) and, oh boy.
Iāve played with many MPE devices, sensel morph, apps, multiple roli products (even developed an alternative firmware for the roli blocks) and also built mpe capable synths on axoloti and these are the things iāve learned:
its daaaaaaam hard to make something that feels right, and the sound engine is as big of a part in that as the actual hardware is (Iāv sold every other mpe device in the end)
Osmose hit the spot, it actually feels like youāre interacting with the sound like an acoustic instrument. I wish i could have you all try it (ans if you can, definitely do). Every musician (and some non-musicians) that iāve showed it to has gotten āgluedā to it in a amazed/trippy way.
It would be awesome to have vital synth run with more overhead as it supports MPE and is waaaay easier to program than surge
I think it is a fantastic piece of hardware with an amazing sound engine!
Now, as someone who mostly fiddled with mono synths and donāt really know how to use both hands at the same time I just have to learn how to play itā¦
but even with just two fingers itās possible to make great sounding stuff that keeps me at it for hours
Hydrasynth ranks among the most remarkable instruments I ever owned: crystal clear oscillators, a complex and innovative synthesis engine, and a nothing short than marvelous keyboard, with poly aftertouch and MPE transmission, which makes for an extremely responsive machine. It almost makes you feel that artificial is the new natural.
I could assimilate into a reality where PolyAT and MPE+ are used as physical controls for non-synth devices. Light shows; how much cream in my coffee, etc.