After our look at where we are – and where we’ve come from – in the world of software control, this time we’re looking ahead to where we might well be going, all stating with some of the innovators of music software…

The most extraordinary controllers all start with an initial idea. Whether it be re-thinking the entire approach to MIDI expression, harnessing multi-directionality or being led by an astounding new design philosophy. Launching anything that goes against the grain is a big risk. Designers concoct their unique vision, developers and engineers then spend years assembling and perfecting the technology and finally, marketing and press relations teams have to convince us that this astounding new

“We worked really hard to find the best technology available and push it” Edgar Hemery

product is worth our cash. It’s tough, particularly with a marketplace unaccustomed to too much change. When it comes to futuristic control options, this is perhaps doubly difficult. Yet, innovative companies, such as Embodme, have forged ahead with their visions, guided by the absolute belief that what they’re making will enhance the creative processes of musicians.

Edgar Hemery is Embodme’s CEO, and he spoke to us about the company’s colourful and adaptive Erae Touch. “The big goal with Erae Touch was to combine the most expressive features that you might find in high-end controllers like those from Haken and Roger Linn, so it sported continuous grids with aftertouch and MPE expression. The second aspect was that we wanted to keep it very configurable and versatile. So that you could display any representation of music you’d like so that it really fits any sort of use in the studio. From drum-pads, to mixers, to keyboards to isomorphic key-grids. We wanted to be able to pack everything you need in the studio while keeping the most expressive features in one product you can keep in a backpack. It’s also affordable, that’s a big aspect.”