The use of MIDI controllable software has multiplied to where it is now more common to see the glow of a laptop on stage than a refrigerator-size rack of effects processors and synth modules. Until recently, the computerized miniaturization of these instruments and modifiers has failed to be reflected in their hardware controllers. Korg’s Nano series began a trend toward small, lightweight USB controllers that fit in a laptop bag rather than a road case, but users of MIDI foot controllers have been required to haul around large metal pedalboards for full hands-free dominion over their software’s many parameters. Roland, Behringer, and Line 6 all make superior products of this type, but musicians have still longed for something more portable for flying and taking on public transportation to local gigs. Enter SoftStep.

Step Right Up (and Down, and Sideways…)
Keith McMillen Instruments has already produced a number of exciting products: its Batt-O-Meter tests batteries without having to remove them from effects pedals, falling into the category of “Why didn’t someone think of this before?” while the hex pickup-driven StringPort offers a new take on guitar processing.

The latest Keith McMillen brainchild, SoftStep ($289.95) is a rugged, USB-powered foot controller that measures roughly 4-inches x 18-inches, weighs in at slightly over 1 lb., and is not much thicker than a yardstick. It features ten 2.5-inch square foot pads and four 7/8-inch navigational pads. An 1/8-inch port for a volume or expression pedal is on the front—kudos to the company for supplying a 1/4-inch to 1/8-inch adapter with the SoftStep package. There is also a USB port and an expansion port for a SoftStep MIDI Expander (sold separately; $49.95) that lets you use SoftStep to control external MIDI devices with or without a computer.

If SoftStep stopped at merely offering 14 MIDI CC control switches and an expression pedal in a package of this size, it would already be welcomed with open arms by electronically oriented musicians, but it goes much, much further.

Fig 1: Each of SoftStep’s pads can control several functions simultaneously.

Each of the ten large pads and four smaller navigation keys can be programmed to perform a number of functions, and, in the case of the larger pads, multiple functions at once. The SoftStep Sensor Key Technology lets you use software to program each of the large pads so that they respond with continuous controller information to direct pressure, X/Y movement, rotary pressure, or all of the above at once (see Fig. 1). It can perform on/off functions as well, responding to single taps of various lengths or double taps.

This is just the beginning when it comes to SoftStep’s programming power. In Pressure mode it can be set to Pressure Live, where the CC message returns to zero when you remove your foot, or Pressure Latch, where the last recorded value will remain when you remove your foot. The X/Y mode can be similarly set to Live or Latch. X/Y can also be set to continuous or incremental (moving in steps each time your foot taps the pad).

Rotation mode can start where you rotate your foot, increasing as you rotate clockwise. Or you might prefer Rot Relative mode, where the place you put your foot on the pad determines the center point, with a signal of 63, increasing (with clockwise foot motion) or decreasing (counterclockwise foot motion) the value from there.

Each pad has an LED that can register red or green. The lights can be programmed to go on/off, or to have a specific color that registers activity. They can also be set to stay on, flash, flash quickly, or blink.

All the Mod Cons
The fun doesn’t stop there. Various software pages present a—you will pardon the MIDI pun—slew of ways to modify this modifier.

Each pad has its own Modulation page containing six Mod Lines. Yes, you can technically program each of the ten pads to perform six functions, without changing programs or banks.

Each modulation line begins at left with an on/off switch, and includes an area to choose which type of modification you want (Pressure, X/Y, Rotary, etc.). A Gain control multiplies the input from the controller (e.g. an input of 33 can be doubled to 66) for dealing with pedal sensitivity; an offset control fine-tunes the gain; and a slew section adjusts the speed of the response.

The destination section lets you choose whether you are sending Note, CC, Bank, Program, OSC (Open Sound Control), Pitch Bend, MMC, Aftertouch, or Poly Aftertouch information. In this last area you choose the device/route, the note, velocity or control change, and the channel number over which that Mod Line’s information is sent; this is also where that pad’s LED response is chosen.

A separate Settings page offers additional control over your MIDI messages. Here you can adjust rotation slew to slow down the rotation response; set X and Y dead zones to indicate how much more pressure to one side is required to begin incrementing or decrementing; and X and Y increment and decrement acceleration.

A Setting page parameter called Delta lets you program SoftStep so that a positive change in pressure greater than the delta value sends a trigger value that can be used as a modulation source. Here, too, the global Gain control amplifies all data from every key, making the SoftStep either more or less sensitive to pressure overall.

As you finish assigning each pad to perform its designated functions, you can save it in the Preset section of the Modulation page. Once you have worked through all ten pads, assigning as many controllers as you wish to each, you can save all ten as a Scene. A Setlist section lets you arrange Scenes so that they can be easily stepped through using the pads in the Navigation diamond area.

Stepping Out
Once I started working with the unit, some of SoftStep’s countless possibilities were revealed immediately. I like to use Ableton Live’s Auto Filter as a wah-wah pedal for my guitar. I was able to program pad 2 to have Pressure Live control the frequency of the Auto Filter, so that when I pressed the pad with my foot the frequency increased along with the pressure and decreased as I lightened up. Through a second modulation line on the same pad, I set Foot Off to shut off the Auto Filter when I removed my foot from the pad. It took quite a fair amount of adjusting parameters in both SoftStep and Ableton to make this work, but the results were worth it.

Next I plugged in an external expression pedal (a Boss EV-50) and set pad 0 to Pedal mode. After calibrating the pedal on SoftStep’s settings page, it was recognized as a controller. I set it to control the volume of Live’s first channel—where I input my guitar when performing—thus creating a virtual volume pedal. I should mention that the modulation line allows you to set any continuous controller operation to sine, cosine, logarithmic, toggle, and other means of affecting the modulation as it changes value over time. This allowed me to set the exact throw that I preferred for the expression pedal.

I also like the fact that I can set an X/Y axis on one pad to raise and lower the blend on my Tal Dub delay plug-in, while setting another to let me tap in the tempo.

DJs will enjoy the fact that SoftStep’s pads will let them trigger Live clips, add quick splashes of reverb, adjust delay wet/dry amounts, and tap tempos—all while “waving their hands in the air like they just don’t care.”

I have only scratched the surface of what the SoftStep offers. Once you start modifying Mod Line 2 with Mod Line 1 and so on, the possibilities become endless. Also keep in mind that controlling MIDI, whether hardware or computer-based, is not restricted to music: video, lighting, and even pyrotechnics can be handled with your feet while your hands are busy elsewhere (don’t go there). And I haven’t even mentioned the cool, blue lighting of the pedal outlines and numbers.

A Bright Future
SoftStep is complicated to program, but relatively intuitive if you have a basic understanding of MIDI and are willing to put in the time. The complexity is due to the sheer amount of control potential packed into this device. You also need to get used to the physical act of pressing the pads, just as you would if you were learning a new instrument—and SoftStep, combined with a computer, definitely qualifies as a new instrument.

SoftStep is in its infancy, with some attendant teething issues—bugs are being fixed with each software update and new features are still being added. But if you don’t mind being on the bleeding edge, you need to grab a SoftStep now; the company’s support team is excellent and open to suggestions on how to make it better. If you tread more cautiously, give it a few months. But sooner or later, you will succumb to SoftStep’s myriad charms.

Pros: Massive amounts of software control possibilities in a small, solidly built, feather-light package.

Cons: Large learning curve required to maximize the controller’s potential.

Michael Ross in a New York City-based guitarist/producer/music journalist. He contributes articles to Guitar Player, Premier Guitar, Guitar Edge, EQ, Sound On Sound, and Gearwire.com. He is the author of the Hal Leonard books Getting Great Guitar Sounds and All About Effects.