Oh, bad news then
We are loosing a big train here… So I’ll add 5 reasons (there are more, of course) why Steinberg should embrace multitouch:
- Vision: Years ago we all heard things like “no one will need more ram!” and “who needs a bigger screen?”… You know where I’m going. Yes, there is a market outside the iPad, a big one. Do Steinberg want to ride a new weave or just to be something “good” between other “good” companies?
- Creativity: Multitouch composing and Multidimensional MIDI. I’m not talking just about hardware devices like Linnstrument or ROLI’s Seaboard (great ideas, by the way). I’m talking about expressive plugins designed for multitouch, synths, saxs, woodwinds, guitars… and also about a new key editor that allows you to play with expresive movements in real time.
- Usability: That’s the whole point. New capabilities for musicians and a better interface. That kind of thing make the difference. You sell more, people are happier… A win-win situation.
- Marketing (yes, that’s important): This is an easy to sell idea for a company like Steinberg, something that right now will make Cubase the one for people with new ideas about how to compose and how to play (live or in the studio).
- Big studios & home studios: For a big studio this will add new options, and for home studios this will allow people to spend money in different things (if they don’t need a hardware mixer they will buy a new expressive instrument, maybe made by Steinberg ).
Where to start? The mixer.
Lost of people will cheer this evolution right now, and the currently evolving ideas will follow.
I’m not saying that a revolution is a good thing, but evolution is everything.
A practical example: A movie soundtrack.
You are composing with multiple tools, keyboards and libraries, but you always want something more, sometimes organic, sometimes not. Anyway, you always want something a little different.
Then you think “ok, I have the best strings library, maybe a good idea, but I want to express this feeling right now…”, you press record and start moving your fingers. You record the rest of your orchestra, you add a chorus…
After that you can start correcting thing and changing CCs, just like now, but you don’t need to spend time adding expression for everything because it is there. The feeling is there from the beginning.
Then you want to send a mock up, but first you need to mix everything. You move your fingers again while hearing you composition… and voilà, you send it. You know its ok, you felt it all the way, and you have more time to enjoy your work.
Yes, this is a look into the future, but everything starts at some point, and here I think that point is the mixer.