feel the identity could be diminished with too many versions
I can see where you could be concerned, and doing what I and Stephen are suggesting will not be easy. Some might have said the same thing about all the weights you have. Personally I am confident that your font's personality is strong enough to lend itself to Small Caps or a text face optimized for very small text etc. Moreover there is help here on typophile to get you there. And there might be other options as well. Certainly the bigger the face's family the better it is likely to do commercially I think. Still, it's your thing; and after doing such good work you may simply want a break!
Looking at the all caps setting of the word TRANSPOSE I was struck at the way the caps feel like sign painter's letters.
Would you talk a bit about the feeling or 'voice' you feel the font has, your intent for the font, and the context in which it was made?
> Certainly the bigger the face’s family the better it is likely to do commercially
I can confirm that is true. Sometimes this is an unfortunate truth as some designers expand the family to tens of styles before polishing the base weight and width. But that is not the case here.
the caps feel like sign painter’s letters.
Yes, handpainted signs was an inspiration, and old, bold letterpress stuff like those modelling for FB Rhode and HTF Champion. I guess I wanted to make a more contemporary version, with some of my own personality in it too. First I thought of it as mainly a headline face (it was then consisting of three bold weights), but then I tried expanding it to lighter weights, and found it worked quite well.