Even if your synth doesn’t support MPE and if you didn’t go for a Multi-channel workaround, you can still make use of the three expression zones of the Augmented Keyboard action. The three expression zones will work in the same way as if you would use an encoder or a fader on your synth. It means that the pressure you apply will shape the sound on a global basis, manipulating the timbre of all notes at the same time, instead of changing the sound of each note individually.
Instead of occupying one hand with turning/sliding a control element without haptic feedback, use A.K.A.’s expression zones. Your hands can rest on the keybed, feeling a responsive and reactive mechanism.
 

• you can map the ‘initial pressure’ to continuosly control any parameter inside the synth on a global basis.
   
• you can map the ‘high quality aftertouch’ to continuosly control any parameter inside the synth on a global basis.
   
• you can use the ‘pitch control’ sideways movement to continuosly pitch bend all the notes you play as a whole. The lateral movement could also be mapped to any other parameter inside the synth.

 
You can define whether this global value is calculated as an average of the individual values of all keys pressed, or whether it is derived from the pressure or bending you apply to a specific single key. The relevant key could be e.g. the top-most, bottom-most, the one with the highest value, the last etc..

This global value will affect all the notes you play in the same manner, just as if you would move a knob or a fader on a standard MIDI controller. It also means that when using Osmose, a monophonic line can be played extremely expressively, no matter which synth you use as a sound generator. In this case, it doesn’t matter that only one global value is used to manipulate the sound.