This is the [MPE full specification](https://s3.amazonaws.com/cdn.freshdesk.com
I get an error message in ‘xml’ format when I click on that link:
AccessDenied
Request has expired
300
2020-11-17T16:04:56Z
2023-04-11T04:35:32Z
JWWJ076MYYAB50WY
Mkcv9pV+tqjpVXkeQKbyvKCgvTzjfqSuYBi6DUCG2nBnxOh1qj9FXZEGSR5mu8PKtLCXG8Ef9KI=
I think I can get the MPE spec directly, just wanted to let you-others know.
Hi Uhoh,
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 one’s 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, “partimento”, and Bach’s closely related pedagogy, where the “roman numerals” we use on lead sheets are useless, counter-productive in fact. We know also “well-tempered” is not “equal tempered”: a compromise well known but rejected at the time as dull. You can’t hear Bach in equal temperament, but it’s nice anyway. The pure thirds, strained 5ths and “breakup” 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 “Pryamide” coming from France:
But I’m also looking for a real harpsichord, which is very tricky as bad copies abound. Osmose takes the “keyboard” layout and general characteristics, and adds “actions” more useful for a synthesizer, which has been held back by “forte-think”. 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 Eurorack…but they sound best to the invested; increasingly quantized to…harmonies. I have sequencers…but the time to get them working to interesting effect…not yet.
@Wapata…entertaining, but misleading video…the wiggle is the least of the Osmose. The new “pressure” control is the real news, which is not clear until you touch it. Andrew, Shoebridge and others don’t 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-bend…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 don’t muddle things trying to wiggle a single finger, but just push it sideways.
The original bebung:
I’d love one of those…has to sound fantastic in person. This was considered the most expressive keyboard of all.
congrats ! This looks so nice 
and some talent too !
Some Yamaha combo organs also had wiggleable keys, the YC20 among them. (Vibrato iirc)
I actually got one of the first osmose units back in february ( took a gamble 2 years ago) and, oh boy.
I’ve 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 i’ve 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 (I’v sold every other mpe device in the end)
Osmose hit the spot, it actually feels like you’re 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 i’ve showed it to has gotten “glued” 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
Do you mean less overhead? If you really meant more I don’t understand your comment-reasoning.
Every musician (and some non-musicians) that i’ve showed it to has gotten stuck to it in a amazed/trippy way.
Interesting comments-report on the Osmose - You’re the 2nd person I’ve heard say that.
Yup, i meant less, late night ramblings lead to typos i guess hehe
I think it is a fantastic piece of hardware with an amazing sound engine!
Now, as someone who mostly fiddled with mono synths and don’t really know how to use both hands at the same time I just have to learn how to play it…
but even with just two fingers it’s possible to make great sounding stuff that keeps me at it for hours 
Add the ASM Hypersynth (OG or Deluxe) to the MPE controller list. Poly AT too. It’s a great keybed and synth.
Couldn’t agree more 
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. 
Even the mini keys of the Explorer feature Poly AT. 
Not too bad, as a collateral usage of MPE keyboards!
Taking a look back to 1978 when Yamaha came out with the CS80 that was unique for having 8 voice Polyphonic Velocity & After-touch, which was not a trivial engineering feat at the time. The Osmose accomplishes a lot more with a lot less.
A used CS80 is going for about $50,000 these days.
Perhaps most famous for it’s use in Bladerunner by composer Vangelis, it’s supposedly prominent in the opening scene.
WOW this TouchKeys keyboard from 2014 turns each key into a little tablet with sliding in and out modulates the note.
Jordan Rudess (who’s always hawking something) briefly demos the TouchKey
Depends on what you’re measuring - the CS80 has more visible-weighable electronics. But if were to count the transistors in the ICs I think the Osmose has way more- probably by several orders of magnitude.
Hi, side question…
MPE use multiple midi channels to be used.
…
…
Why not OSC ?? 
I mean : yes midi is universal, but MPE is not, as you need a MPE controller and a MPE sound generator, so why sticking to Midi protocol so hardly ?
