Expressive E Osmose CE review: The Cadillac of MIDI keyboardsOsmose CE 49 €999
Osmose CE 61 €1199
expressivee.com
To improve upon the humble keyboard is no small thing. For at least 500 years, the principle behind those black and white keys has remained essentially the same: press down to trigger a sound.
So when Expressive E unleashed the Osmose synthesiser in 2023 they quite rightly turned heads with their innovative keybed design. Andrew Huang gave it a rave review, Hans Zimmer gushed that the instrument allowed him to “transform a sound completely” while working on his soundtrack to the second instalment of Dune. Meanwhile, regular musos checked the price tag and shook their heads in dismay.
But now we have the Osmose CE, an all-MIDI version that drops the onboard synth engine, lowers the entry fee, and still offers a next-generation playing experience.

READ MORE: ROLI Airwave review: Prepare yourself for hyper-expressive MIDI control in six dimensions

With all that in mind, there’s really only one place to start when evaluating Osmose CE: the keybed. The company bills it as ‘a keyboard unlike any other’ and it’s hard to disagree.
The important thing here is that, in their pursuit of maximum MPE expressivity, the designers haven’t strayed too far from the solid foundation of black and white keys. In comparison to the ROLI Seaboard 2, which really does require mastering a unique playing style, the keybed on the Osmose CE takes a familiar experience and, quite literally, deepens it.

Press down on a key and you hit the usual stopping point – but then you keep going, and going, and going. The amount of space for aftertouch pressure feels absolutely huge, even if officially it’s only seven millimetres of travel distance. In practice, this means that you can execute super fine pressure control over filter cutoffs, LFO depth, or really any parameter your heart desires. I find an unreasonable amount of joy in arpeggiating a held chord while gradually varying pressure depth for individual notes, creating shifting accents and timbres.
Regarding the hands-on feel, it’s a firm, springy, ultra tactile experience – even if you do kinda feel like you’re kneading bread dough. But don’t think that you need a lot of force to get sound out of this thing since the keys have easily customisable sensitive ranges. So sensitive, in fact, that even an ultra light tap can produce sound if you wish.
Image: Press
Up and down is not the only axis in play here, there’s also side to side. Keys can be vigorously ‘wiggled’ to produce vibrato just as you might traditionally do on a stringed instrument. The left/right travel of each key does introduce one issue: keys can occasionally knock against each other. It could just be that I’m still getting used to the instrument, but when I play fast melody lines coupled with deep key presses, there are noticeable clicks as released keys snap back into place. Personally, I didn’t find this to be a dealbreaker, but for those looking to play virtuoso passages, it’s something to be aware of.
While Osmose CE may lack the onboard synth engine of its big brother, it does add deep DAW integration. Tested across a number of workstations —including Cubase 15, Ableton 12, and Bitwig 6—implementation is solid.
Using the 4.3-inch colour LCD, a handful of push buttons, and six clickable rotary knobs, you can navigate across tracks, activate loop regions, scrub through a session, open and close instrument plugins, control plugin macros, and start and stop recordings, all without touching a mouse or computer keyboard. If you’re using the instrument’s companion software, Ctrl-e, then the onboard screen displays additional guidance for navigating the different instruments and selecting presets.
Ctrl-e interface. Image: Clovis McEvoy
Ctrl-e is designed to take full advantage of Osmose CE’s expressive potential, but, for my money, it’s actually the weak link here. To be clear, none of the sound presets are bad, but they don’t exactly inspire me either. Perhaps that shortcoming is harder to ignore when the hardware itself is such a standout.
This isn’t much of a concern as it’s simple enough to set Osmose CE up to work with a favoured software or hardware instrument. Using the onboard menu, you can switch between preset MIDI modes, including poly-aftertouch, multichannel, and classic keyboard, and to assign pressure and aftertouch gestures to individual continuous controller (CC) messages. It’s worth noting that, at present, side-to-side gestures are hardcoded to pitch bends and can’t be assigned to other control change messages – something I can only hope will be remedied in future updates.
Ctrl-e interface. Image: Clovis McEvoy
In addition, the unit comes with incredibly nifty onboard functions for arpeggiation and pitch glides. For example, it’s possible to assign individual arpeggio parameters to specific gestures – so, if you’d like to add some octave jumps only when you bend a note sideways, no problem! For pitch glides, you can set specific interval ranges within which a glide will trigger, and then control the portamento time by ‘seesawing’ between two notes. The interval range can be extended to cover the entire keyboard range, which effectively gives you a ribbon-style controller for massive pitch sweeps. I love the level of control offered here, and the level of specificity Expressive E offers gives you a clue as to who this instrument is intended for.
Osmose CE is a professional-level instrument through and through. It might be more affordable than the original synthesiser version, but at €999 for the 49-key version, and €1199 for larger 61 iteration, it’s priced in a similar tier as the ROLI Seaboard 2, far beyond mere mortals like the Arturia Keystep Pro or the Novation Launchkey MK4 61.
MPE Arpeggio. Image: Clovis McEvoy
However, for that ticket price you get something built like a bulldozer. The aluminium top case and metal under-panel are rock solid and roadworthy, the sliders and rotary knobs feel premium, and the whole thing will look downright gorgeous sitting on a desktop or a stage.
More to the point, for you to even consider this instrument you should already be at a point where you’ve exhausted what a standard MIDI keyboard can offer. For producers and performers Osmose CE genuinely elevates classic keyboard design in musically meaningful ways, all without sacrificing playability. For composers, it’s a sound design machine that excels at quickly producing the kind of nuanced fluctuations in timbre that would otherwise take painstaking parameter automation to achieve.
For those who have the skills, ambition, and bank balance, Osmose CE is the MIDI controller of the moment.
Image: Press
Key features

MPE-compatible controller keyboard with an innovative keybed
Available in 49-key and 61-key sizes
Multiple gesture inputs, including tap, press, pitch bend, vibrato, and shake
Onboard arpeggiator and pitch glide functionality
Ctrl-e companion software with 900+ sound presets
DAW integration with Live, Cubase, Bitwig and Logic Pro
4.3-inch colour LCD screen
9 buttons and 7 knobs/encoders
Pitch and modulation sliders
MIDI in/out/thru
2 assignable pedal inputs
Weight: 10 kg (Osmose CE 49) / 11 kg (Osmose CE 61)

The post Expressive E Osmose CE review: The Cadillac of MIDI keyboards appeared first on MusicTech.

How This Manager Sold Out Tours Without Venues and Develops Artists, Songwriters and ProducersThis week, Ari is joined by manager Joseph Pepin to discuss how artists turn viral moments into lasting careers.

Cole Berliner Signs With Drag CityDate Signed: October 2025Label: Drag CityType of Music: Folk, Jazz, ClassicalManagement: Self-managedBooking: Black Rice Booking (Europe)Publicity: Drag CityWeb: coleberliner.com

After making his name as a member of the bands Kamikaze Palm Tree and Sharpie Smile, Cole Berliner has gone solo and The Black Door is his debut solo full-lengther. It also marks his debut for the Drag City Label, though it’s been a long time coming.

“I have been performing since I was a kid, through after school music programs and also through school,” Berliner says. “My first ever band performance that I can remember was in 2nd grade at my school talent show. We were called The Out of Control Fireball Psychics. Fast-forward, I began writing and playing in bands with friends as a high school teenager, and it was around this time that I started experimenting and recording songs and guitar pieces of my own. Around this time/post high school I actually had self-released a couple albums on Bandcamp under the moniker Tongue Splitter.”

The artist says that his sound is based on taking lots of different things and bringing them together. “My sound is kind of a result of this, an amalgamation of everything I’ve been a part of musically or listened to over the course of my life, trying to give each one it’s place in the music while still following the inner light of self-identity,” Berliner says.

“I think it’s also safe to say that I have always liked things with a bit of edge,” he continues. “Even if it’s meant to be soft and beautiful, there has to be some sort of hardness, imperfectness, or sadness.”

While The Black Door is Berliner’s solo debut for Drag City, he’s been working with the label since his band Sharpie Smile signed with them back in 2020.

“My bandmate Dylan and I had met Dan Koretzky in L.A. because we happened to be playing some west coast shows when he was in town,” he says. “Dylan and I both played in White Fence for a while, and I think Tim Presley was the one who connected the dots with us and Dan—Dan ended up coming to a pretty random but awesome show at a strip mall in Santa Ana, and we started talking after that.”

Berliner has had the songs from The Black Door kicking around for a while, but they came to life when he re-started playing them acoustically.

“Somehow, the steel string guitar shifted my perspective back to its original feeling from when I first started writing,” he says. “It was ‘winter’ in L.A., it was foggy and mysterious, lush-green and beautiful.”The post Cole Berliner Signs With Drag City first appeared on Music Connection Magazine.

GM joins race to build batteries for AI data centers and the gridGM is developing an entirely new sodium-ion battery chemistry for use in everything from data centers to its own factories.

Pedro Winter appointed Global Head of Creation and Co-Managing Director of Because Music FranceThe founder of Ed Banger Records, launched in 2003, and former manager of Daft Punk is joining Because Music in Paris.
Source

Solana Institute CEO says CLARITY Act must shield open-source developersKristin Smith urged the Senate to preserve developer protections in the CLARITY Act, arguing open-source builders should not be regulated as financial intermediaries.

How the 2020s Chip Crisis Led to a Buggy Saleae Analyzer in 2026For those of us old enough to remember the harrowing days of the early 2020s, alongside another major kerfuffle there was a complete breakdown in global supply chains that led to the 2020-2023 global chip shortage. Unsurprisingly, this pushed many hardware manufacturers into less orthodox approaches, massive BOM changes, and hurried redesigns. One of the results of this era found its way into the hands of the bloke over at the [Playduino] YouTube channel, who was mystified to find two bodge wires in his fancy Saleae logic analyzer.
The reason for popping open the LA was crosstalk between two channels, which was bad enough that it made the unit quite unusable for the intended task. After seeing the cut traces and bodge wires he initially assumed that since he bought it used that the previous owner had modified it, but said person denied having opened it since purchasing it from an official retailer.
This was when he emailed Saleae support to see whether they knew anything. Initially they denied knowing anything about such a modification, but then the CTO emailed back with a long and very detailed confession. As explained in the video, during the aforementioned chip crisis Saleae was forced to rapidly redesign their LAs to use whatever FPGAs and other parts they could still get their hands on.
An initial prototype unit passed their internal tests, so they had a first batch manufactured using PCBs from a different supplier. Despite sending the same Gerber files, the resulting PCBs had ground fill issues that necessitated the observed rework, but due to insufficient testing for crosstalk a total of 406 units made it into the wild.
Sadly he had to return the defective unit for a replacement, making it somewhat hard to let go of such a piece of history. That said, if you want to know whether you’re also one of the lucky remaining 405 LA owners, the CTO provided the affected serial number range: 00200026245 to 00200026675 are affected.

Get nostalgic synth plucks for Splice INSTRUMENT
Download our free synth plucks preset for Splice INSTRUMENT—grab these presets during the drop window and they’re yours to keep forever.

Fender Studio Pro 8.1 arrives Fender Studio Pro 8.1 introduces AI-powered Studio Assistant feature along with integration with Moises Studio, a native pitch-correction tool and a whole host of improvements to its existing toolset. 

Bram Iron transformerIron Transformer is a saturation/distortion plugin that models magnetic hysteresis, the way iron cores in transformers respond to audio signals. Instead of emulating a specific piece of hardware, it simulates the underlying physics: how magnetic material "remembers" its state and resists change, creating that warm, gluey saturation people chase in iron transformers. It is built only for Linux, and only available in CLAP format. Demo video: https://youtu.be/NzO0QJDGMrI. The parameters for the magnetic model can be controlled in the plugin (also automatable). The parameters can be adjusted to add some subtle character, or loud distortion. The dM/dH graph on the right shows live how the magnetization curve is impacted by the parameters you've set. Its shape determines the character of the effect: Wider curve = stronger hysteresis, more "memory" effect, thicker sound. Larger surface area = more distortion, more harmonics generated. Thin line near center = subtle, transparent saturation. Sharper curves = harder saturation, more aggressive crunch. This plugin works well to add character or warmth to a bunch of different instruments. You can leave feedback in the reviews here or mail me at audio@btertoolen.eu. Read More

Behringer D Mini is available for pre-order in the EU: Minimoog Model D-inspired performance for €99
You can now pre-order the Behringer D Mini in the EU for €99, offering you a Minimoog Model D-inspired performance. If you know anything about Behringer in recent years, you’ll know that I’ve made rather casual use of the word inspired in the header. When I say inspired, I mean cloned to within an inch [...]
View post: Behringer D Mini is available for pre-order in the EU: Minimoog Model D-inspired performance for €99

This limited-time Royer Labs ribbon mic bundle could be the perfect setup for recording your acoustic guitarRibbon mic specialist Royer Labs has announced a limited-time deal on its R-12 Active Ribbon Microphone, in which you can get the mic, plus Royer’s patented RSM-SS24 Sling-Shock mount for just $999, saving you $300 if you were to buy them both separately.
Launched in December, the Royer R-12 pairs classic ribbon warmth with active output, making it a perfect microphone for capturing steel-string acoustic guitar. As Royer explains, the mic is designed to capture the “woodiness” and natural midrange of the guitar, without adding to the brittle top-end often associated with brighter microphones.
Meanwhile, the R-12’s active circuitry means improved clarity, transient response and output – perfect for modern recording setups.

READ MORE: Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know

Royer’s flagship R-121 is one of the most touted ribbon microphones on the market, and the R-12 features the same 2.5-micron ribbon. Meanwhile, the mic also sports a switchable -15dB pad and a switchable high-pass filter for proximity control.
It also features an internally shock-mounted ribbon transducer and a built-in triple-layer windscreen for the reduction of unwanted handling and wind-related noise.
Credit: Royer Labs
The RSM-SS24 Sling-Shock mount makes this bundle perfect for acoustic recording, as it provides an added layer of isolation, helping to reduce stand and floor noise during recording.
The RSM-SS24 utilises a non-resonant nylon cord and damped tensioning springs instead of elastic bands, offering users a stable, reliable mounting system for pristine recordings.
“Acoustic guitar is one of those sources where players know immediately whether a mic is helping or getting in the way,” says Dave Hetrick, President and Chief Revenue Officer at Royer Labs.
“The R-12 gives players the warmth and natural response people expect from a Royer ribbon, but with the output, clarity and control that make it easy to use in real-world recording sessions. Pairing it with the RSM-SS24 gives customers a complete setup at a strong price.
Of course, the R-12 is great for recording acoustic guitar, but can also be used with a range of instruments, including piano, organ, drum overheads, strings, room miking and more.
The R-12 Bundle is available now via authorised Royer Labs dealers. Learn more at Royer Labs.

The post This limited-time Royer Labs ribbon mic bundle could be the perfect setup for recording your acoustic guitar appeared first on MusicTech.

Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know
Following the introduction of Fender Studio Pro earlier this year – when it replaced PreSonus Studio One – Fender has introduced a sprawling new update for its flagship DAW, bringing workflow improvements, Moises Studio integration, new plugins and loads more.
There’s also an all-new in-DAW Studio Assistant, which is on hand to answer any questions producers have as they arise, and offer technical direction to support their projects. Additionally, 8.1 introduces a new Vocal Tune plugin for native pitch correction right within Studio Pro.

READ MORE: Imagine Plugins is changing who gets to make plugins

The new Moises Studio integration – dubbed the “first of its kind” – means creators can now use Moises’ AI-powered tools, including stem separation and tools for idea generation, without leaving their DAW.

“Anything that keeps me in-DAW versus breaking focus for a web browser, like the new Moises integration, is a welcome addition,” says artist, producer and songwriter Josh Cumbee. “8.1 gives me more tools and a wider ecosystem that supports my workflow, making it as fast and customised as I would ever want it to be.”
On the new Studio Assistant, Max Gutnik, Chief Product Officer of Fender Electronics, explains: “At Fender, we view AI the same way we view any innovation. Its value isn’t in the technology itself, but in how it helps musicians create, learn and express themselves.
“Studio Assistant provides guidance right when players need it, helping remove friction and keep the creative process moving. Our integration with Moises gives musicians powerful new ways to learn songs, practice, experiment and create.
“AI isn’t the destination. Making music is. When technology gets out of the way and helps musicians accomplish more, it’s serving the art. That’s what we aspire to do.”

Elsewhere, Studio Pro 8.1 brings scoring improvements, pitch curves on audio events – which allow producers to draw real-time pitch changes directly onto audio clips – upgrades to native stem separation, improvements in the DAW’s ability to turn audio into MIDI , plus Dolby Atmos headphone personalisation.
Fender Studio Pro 8.1 is available now for all Fender Studio Pro users, including anyone with a Fender Studio Pro+ subscription, a perpetual license or an upgrade purchase within the last 12 months.
Pricing for Fender Studio Pro is as follows:

Perpetual license – $199.99 / £169.99 / €199.99
Pro+ Annual Subscription Plus Perpetual – $179.99 / £159.99 / €179.99
Perpetual license upgrade – $99.99 / £89.99 / €99.99
Monthly subscription – $19.99 / £19.99 / €19.99

Learn more at Fender.
The post Fender Studio Pro 8.1: Moises Studio integration, a new AI Assistant and everything else you need to know appeared first on MusicTech.

Jonas Eriksson releases Annulus, a FREE polyphonic resonator and effects engine
Developer Jonas Eriksson has released Annulus, a free polyphonic resonator and effects engine for macOS and Windows. You should note that, while Annulus is available for free download, it has not yet undergone a public beta or formal testing phase. The plugin is functional, but may contain bugs, and the developer welcomes reports and feedback [...]
View post: Jonas Eriksson releases Annulus, a FREE polyphonic resonator and effects engine

bigBASS from fedDSP bigBASS packs in an array of tools designed to enhance low-frequency content, and is said to be versatile enough to tackle everything from subtle mix-bus duties to huge-sounding kicks and basses.