Expressive E – “We’re Not Trying To Replace Established Ways Of Working But To Extend Them”

Expressive E are set to overturn the industry (again) with Osmose CE, a controller version of the game-changing MPE keyboard. We spoke with the company to find out more.

Although there are a number of MPE-compatible keyboards on the market, none has captured the zeitgeist quite like Osmose. The synthesizer/controller combo from Expressive E does all of the MPE things - like polyphonic aftertouch, pitch bend per note, and aftertouch - but in a form factor that looks and feels like a traditional piano keyboard. Now Expressive E has released Osmose CE, a controller version in two keybed sizes, with either 49 or 61 keys. Osmose CE that loses the EaganMatrix sound engine but gains DAW control. We spoke to Expressive E’s Head of Global Sales & Marketing, Roméo Verlet, to get the story of how the Osmose CE came to be, and what people may still not understand about MPE.

Attack: Why did you want to make a controller version of the Osmose, and why now?

RV: MIDI controllers have become very efficient tools, but the way notes are actually played has remained relatively unchanged. With Osmose CE, the intention was not to replace that model, but to extend it and carry it forward in its natural evolution. It works as a familiar MIDI controller within an existing setup, while allowing much more to happen at the level of each note. That comes from the combination of the keybed, firmware, software, and sound ecosystem working together. Now felt like the right moment because that full system is mature enough to make this level of control usable in real production workflows.

What’s different in the controller version?

At its core, Osmose CE uses the same keybed as the original Osmose, so the playing experience itself remains unchanged. What’s new is everything around it. Osmose CE is designed as a controller, with a new chassis and refined hardware design, including a white finish and modern USB-C connectivity. It also introduces deep DAW integration, allowing users to control transport, navigation, and mixing directly from the keyboard without breaking their workflow.

Another major difference is Ctrl-e, the companion software that provides a complete expressive sound ecosystem, tightly integrated with the hardware. Together, these elements make Osmose CE not just an expressive instrument but a fully integrated controller designed for modern production environments.

Not everyone is a virtuoso keyboard player. How can Osmose CE contribute to regular workflows?

It’s not really about virtuosity. Many producers already shape sound through automation or modulation. Osmose CE brings part of that control directly into the playing. Because the sounds in Ctrl-e are already designed for expressive interaction, and the DAW integration is in place, users can focus on making music rather than configuring their setup. It also changes the physical workflow. You can often keep both hands on the keyboard, instead of using one hand to play and the other to control parameters.

[quote align=right text=" With Osmose, even small variations in how you play have a clear and immediate impact, which makes the experience feel much more responsive and engaging"]

Are there features specifically designed for non-keyboardists?

The main focus was to reduce complexity rather than add assistance features. Osmose CE doesn’t require routing, templates, or manual setup. It works across different environments with minimal friction, and Ctrl-e provides a large library of expressive presets that are already mapped and ready to play. What also helps is that you don’t need advanced technique to get something satisfying out of it. Even very simple gestures can produce rich results.

For example, just pressing into a key and exploring the depth of its movement can already create evolving textures. The response of the keybed gives you a lot to work with, even without traditional playing skills. Features like the expressive arpeggiator also make it easy to generate more complex and dynamic musical ideas without requiring precise keyboard technique. So rather than simplifying the instrument, the idea was to make expressive playing more immediately accessible.

Does Osmose appeal more to live work, whereas the Osmose CE is more geared towards studio?

They are designed with different contexts in mind. Osmose CE is primarily focused on studio use, as it is built to integrate tightly with DAW-based workflows, software instruments, and the Ctrl-e ecosystem.

Osmose, on the other hand, is a standalone instrument with its own internal sound engine, making it naturally well-suited for live performance. That said, they share the same core playing experience, and the gap between the two is expected to evolve over time. Many of the software and workflow features introduced with Osmose CE will also be made available to Osmose users, and we are continuously working toward making the overall Osmose ecosystem more flexible across both studio and live contexts.

Why do you think people like the Osmose so much?

There’s a direct relationship between gesture and sound. With Osmose, even small variations in how you play have a clear and immediate impact, which makes the experience feel much more responsive and engaging.

That relationship can feel very human and rewarding, because the instrument responds to the nuance of your touch in a way traditional keyboards simply couldn’t.

For a long time, musicians imagined being able to play vibrato directly from the keys or shape continuous dynamics with their fingers, but it remained mostly theoretical. Osmose makes that possible in a natural way, and that tends to be a striking experience the first time people play it.

I was surprised at how very intuitive Osmose CE is to use. Is this something that you worked hard at to achieve?

Yes, it required a lot of iteration. The goal was to keep a familiar keyboard feel while adding new dimensions of control, without increasing complexity. A large part of that work sits in the system as a whole, including presets, mappings, software behavior, and how smoothly the instrument moves between different contexts. Users can also fine-tune how the instrument responds, adjusting sensitivity curves and behavior to match their playing style.

You recently moved your manufacturing to Poland. What prompted this move and how are things going?

The keybed relies on a relatively complex mechanical design. Bringing manufacturing closer allows for more direct control over calibration, quality, and consistency, especially as production scales.

[quote align=right text="expressive control can bring more nuance to a wide range of sounds, including very simple ones."]

How do you ensure consistency with such nuanced design when building at scale? Is durability a concern?

Consistency is critical because it directly affects how the instrument feels to play. Each unit is individually calibrated and tested to ensure a consistent response across the keybed. The mechanical design and material choices are made with long-term use in mind, making durability a core requirement from the start.

At the same time, the instrument is designed to be fully serviceable: all parts can be replaced individually, with no glue used in the construction, only mechanical assembly. This allows the instrument to be maintained and repaired over time, which is an important part of ensuring long-term reliability.

MPE is getting more and more popular but it still feels niche. Why do you think this is?

In many cases, the limitation hasn’t been the concept itself, but the lack of a complete ecosystem. There have been expressive controllers, but not always the sounds, the workflow, or the integration needed to make them practical. Configuration and setup have often been relatively tedious, which has slowed adoption.

What really makes the difference is bringing all these elements together in a way that feels immediate and usable. That’s exactly what Osmose CE and Ctrl-e are designed to address.

Can MPE become standard?

It has strong potential to become a standard over time. Per-note expression is already part of the future of MIDI, with MIDI 2.0 natively supporting it, which is a clear signal of where things are heading. At the same time, adoption depends on how easy and consistent the experience is. When expressive control works not only in ideal MPE scenarios but also across more traditional setups, it becomes much easier to integrate into everyday workflows.

Is it a frustration that not all DAWs, such as FL Studio, have MPE? Are you missing out on potential markets?

It can be limiting in some cases, yes. That’s why Osmose CE is designed to work not only in MPE environments, but also in more traditional MIDI setups and hybrid configurations.

At the same time, there are clear signs that things are moving in the right direction. Major players in the industry are actively embracing per-note expression.

For example, Avid recently announced MPE support for Pro Tools with a well-thought-out implementation. So while it can be a limitation today, there is strong momentum, and we’re continuously working with partners across the industry to expand compatibility.

Do certain types of sounds benefit more from expressive control?

Some sounds make it more immediately noticeable, especially those based on continuous variation. But in practice, expressive control can bring more nuance to a wide range of sounds, including very simple ones.

What’s a misconception people may have about Osmose CE?

One misconception is that it’s only relevant in an MPE context. Another is that it would replace existing workflows. In reality, it’s designed to integrate into current setups and extend them. A large part of its value is that it can bring expressive control to instruments musicians already use.

There can also be the impression that it’s simply a more affordable version of the Osmose synthesizer. In practice, it’s a different product with a different purpose – not just a controller, but a complete ecosystem built around Ctrl-e.

What do you think really makes a MIDI controller great?

A great MIDI controller is one that disappears in use. It should feel immediate, intuitive, and fully integrated into the musician’s workflow. It’s also something musicians use for hours every day, so the physical feel, responsiveness, and build quality are essential.

While integration has improved a lot over the years, expressivity in playing is still less explored. Osmose CE focuses on extending that dimension, while preserving the simplicity of existing workflows.

‘Game changing’ is often overlooked but would it be appropriate for the Osmose CE?

From a workflow perspective, Osmose CE builds on what already exists rather than trying to reinvent it. From a playing perspective, it opens up a different level of interaction with sound.

We’re not trying to replace established ways of working, but to extend them, bringing more nuance, more control, and new expressive possibilities. How significant that feels ultimately depends on how each musician chooses to integrate it into their own process.

Find out more at https://www.expressivee.com/178-osmose-49-ce