Expressive E Osmose: Film Scoring in the Fast Lane

A core theme throughout the video is the Osmose’s deep integration of MIDI Polyphonic Expression (MPE), which allows for per-note control over parameters like pressure, pitch, and timbre. Madoff demonstrates how subtle changes in touch can morph a sound from gentle ambience to aggressive distortion, all without reaching for a knob or menu. This tactile approach is not just a technical novelty—it’s a genuine workflow enhancer, letting composers shape evolving textures in real time.

The sound engine’s flexibility is showcased through the use of arpeggiators, wavefolding distortion, and gain staging, all modulated by the performer’s gestures. The ability to start with a soft pulse and gradually intensify it with pressure alone is a recurring motif, underscoring how the Osmose’s architecture is built for nuanced, cinematic dynamics. For anyone used to laborious automation lanes or static MIDI programming, this level of immediacy is a revelation.

Madoff walks through the process of scoring a high-energy chase, layering sounds and performance techniques to mirror the evolving tension of the scene. He begins with a gritty bass pulse, using the arpeggiator and pre-gain tricks to sculpt a driving foundation. The workflow is iterative: sounds are tweaked on the fly, with gain and distortion settings dialed in to taste, and the arpeggiator’s chord mode used to humanize and intensify the harmonic content.

Percussive elements are crafted from scratch, with Madoff leveraging the Osmose’s sensitivity settings to create dynamic, heartbeat-like drums and rhythmic accents. The approach is hands-on and performance-driven—rather than sequencing every nuance, he samples different pressure levels and lines them up, capturing the organic variability of live playing. This section also highlights the value of happy accidents, as unexpected finger movements or pressure changes lead to new sonic directions.

As the cue develops, lead lines and plucky synths are layered in, often played simultaneously thanks to the Osmose’s multi-gesture capabilities. Madoff notes how this mirrors the sketching process at a piano, but with the added dimension of digital sound design. The workflow is fluid, encouraging experimentation and quick iteration—qualities that are often elusive in traditional DAW-based scoring.

In a standout segment, Madoff connects the Osmose to Spitfire Chamber Strings, transforming a monophonic sample library into a multi-channel, MPE-enabled orchestral instrument. By mapping pressure and aftertouch to dynamics and volume, he achieves per-note expressive control that’s typically reserved for high-end, dedicated controllers. This setup allows for nuanced performances—gentle swells, tremolos, and staccatos—that respond to the lightest touch or the most forceful press.

The integration isn’t just a technical flex; it’s a practical workflow upgrade for composers who want to blend electronic and orchestral elements seamlessly. Madoff demonstrates how the Osmose’s sensitivity settings and multi-channel MIDI output can breathe new life into existing libraries, making them feel more like real instruments and less like static samples. The final touches—subtle string layers from the internal engine and a sustained note to close—highlight the instrument’s versatility and its potential as a central hub in a modern scoring setup.