Hello! Longtime lurker here, and (now there is a Lyra 8 discussion) first time poster!
I love this instrument with a passion, partly for the reason @lloydcole highlighted: “some behaviour is perplexing.”
There is always something further to explore with this box of possibilities, and I question whether it can ever be “mastered”. But after many months of exploration I am beginning to feel more confident that this is a real instrument with a distinctive voice, that rewards TECHNIQUE at least as much as CHANCE.
For instance, those apparently unreflexive, unyielding contacts can respond quite differently to (1) a full bridging of the contacts with a heavily imprinted finger compared to (2) a gentle touch of the contact with the tip of a finger nail. Whilst you could get a similar response in any moderately capable keyboard synth by applying velocity and/or aftertouch to amplitude (and drive? release? and possibly pitch also? - there’s a lot going on with those key contacts and the Lyra tone!) it does feel different in the Lyra 8 - more like how one would instinctively pick a string harder on a “traditional” instrument than tweak modulation routings on a synthesizer. And, of course, each set of key contacts on the Lyra 8 can respond differently to different touches at the same time, akin to polyphonic aftertouch.
I agree with @EPTC that the Hyper LFO is a highlight. @lloydcole if you are after more subtle Hyper LFO modulation than you can get just applying MOD to the voices, I find that you can dial in lower amounts using the MOD DELAY settings, allowing one or both lines to be modulated by the LFO - not completely the same effect but possibly close enough to get you where you want to be. My Lyra behaves as mentioned above with the MOD knobs fully CCW.
I too am looking forward to the Pulsar 23, and how it will interact with the Lyra 8.
It would be great to get a discussion going of Lyra 8 technique, I am sure there are a lot of Lyra players (and curious potential players) out there who would value that.