Expressive E Unveils Osmose 2.1: A Firmware Update That Redefines Digital Expression

The 2.1 update brings a major overhaul to the Osmose’s digital signal processing core, courtesy of the updated EaganMatrix DSP. This upgrade introduces a pulse width modulation oscillator, which expands the instrument’s virtual analog capabilities and opens up new timbral territory for those who crave classic synth textures with a modern twist. The addition of per-voice bitcrusher, saturation, and pitch shift effects further deepens the sound-sculpting toolkit, giving users more ways to shape and mangle their tones.

Global effects have also received a significant facelift. The reverb and delay algorithms have been completely reworked, with a new lush, extra-long reverb now available for immersive soundscapes. Two new 24 dB ladder filters and a drive mode for the compressor round out the DSP enhancements, providing both subtle and aggressive coloration options. These improvements are not just technical upgrades—they’re designed to be felt in every patch and performance.

With this update, users gain access to 80 new analog presets, crafted to highlight the expanded DSP architecture. These sounds are not just filler; they’re built on the expertise Expressive E’s sound designers honed while working on high-profile projects, including collaborations with Hans Zimmer. The focus is clearly on showcasing what the new oscillators, filters, and effects can do in a musical context.

The two new built-in effects are accessible directly from the Osmose interface, making it easier than ever to experiment and tweak sounds on the fly. Whether you’re diving into lush reverbs or exploring saturated drive tones, the workflow remains immediate and performance-friendly. This direct access is a boon for both studio exploration and live improvisation, reinforcing Osmose’s reputation as a hands-on, expressive instrument.

Expressive E isn’t stopping here. The video teases a roadmap for upcoming user-friendly editors, tailored to specific instrument categories like electric pianos, analog synths, wind instruments, and plucked or mallet sounds. This modular approach promises to lower the barrier to deep sound design, offering dedicated interfaces that match the unique needs of each sound type.

The goal is clear: to make the full power of the Osmose’s expressive engine accessible to a broader range of musicians, regardless of their programming background. While the current update lays the technical foundation, these future editors could redefine how users interact with the instrument, making advanced synthesis as intuitive as playing a traditional instrument.