From 1970's tape machine remotes to the latest iPad apps and everything in between, controllers can make your music-making life a lot easier. We'll explain what they can do for you, take a look at some of their history and explain what options are out there on the market for you to consider.

To the modern generation of producers who practically grew up using computers to make music, the process of working with software comes quite naturally. Some may even ask what the point of controllers is given that they don't technically allow your software to do anything it can't already do. If a hardware controller doesn't offer any features which can't be accessed via mouse, keyboard and menu functions, what does it really add to the music-making process?

Essentially, the advantages are simply a matter of convenience, efficiency, ergonomics and tactile interaction. The ability to access and adjust key parameters without digging through menus or adjusting fiddly virtual settings makes it much quicker and easier to reach your desired sounds, speeding up your entire workflow. Controllers are typical ly a lot more comfortable to use than a mouse and keyboard, reducing the risk of RSI and similar long-term problems but also simply making you more relaxed and able to concentrate on the music in the short term rather than being distracted by aches and pains.

Perhaps most importantly, a physical controller offers a level of hands-on feel and feedback which a virtual knob or fader simply can't. The human element of Electronic music should never be forgotten, and the ability to grab a fader, make an adjustment and immediately hear the change in sound with every move of your fingers shouldn't be underestimated.

Remote controls for studio equipment pre-date modern music software, DAWs and plug-ins- even in the analogue era remote controls were used to make life easier. Most notably, remote transport controls made tape-based multi-track recording significantly easier.

What would you rather do: sit at the mixing console with a remote next to you or dash to the tape machine every time you needed to hit record, rewind or arm a track? As we moved into the digital era, remote controls for outboard hardware such as reverbs and samplers became commonplace. Even now, you'll still find the distinctive white LARC (Lexicon Alphanumeric Remote Control) sitting neatly on the console in plenty of professional studios, bringing full control of the rackmount reverb unit's settings right to the producer's fingertips.

In fact, even the idea of remote control isn't necessarily essential. Many hardware controllers simply offer increased control over the standard knobs and buttons. Roland in particular were way ahead of the game when it came to offering comprehensive hardware programming units for their synths. A number of the company's '80s keyboards and modules are at their best when paired with the optional programmer. Take a look at the sparse front panels of synths I ike the JX-8P, D-50 or Alpha Juno and you'll soon see why the programmers attract second-hand prices nearly as high as the synths themselves. Stick an MPG-80 programmer in the rack next to your M KS-80 Super Jupiter module and you've got yourself one hell of a powerful synth setup.

Even a synth as notoriously complex as the Yamaha DX7 saw a dedicated hardware editor in the form of the extremely rare Jellinghaus DX Programmer, which offered hands-on control of practically every parameter without having to scroll through menus and peer at the tiny LCD screen. If you're lucky enough to find one for sale now you can expect to pay somewhere in the region of $2,500 but the editing potential opens up a world of sounds which is otherwise fiendishly difficult to access, unless your name happens to be Brian Eno.

The hardware controller really matured around the time of the 'DAW revolution'. With the pro I iteration of computer-based studio setups, various manufacturers released all-purpose control surfaces that offered the hands-on features that were being lost as the world moved from tape machines and mixing consoles to digital recording and mixing. The control surface continues to increase in popularity. From the most basic transport controls to simple mixer-style faders and rotary controllers, even the budget end of the market caters to the basic needs of many producers. In the mid-range market, products such as the Mackie Control Universal range allow you to take control of the vast majority of mix functions and can easily be expanded to add more channels or different features. Likewise, products such as Novation's Nocturn range provide control of plug-ins and software, taking advantage of the Automap control software to provide visual feedback of the hardware's mapping. Meanwhile, at the top end of the scale, professional control surfaces such as Digidesign's Digi002, the Cakewalk V-Studio 700 and SSL's newly unveiled Nucleus offer a complete control package with built-in audio interface and preamp features to integrate seamlessly with your software. If you really want to take things to the next level, SmartAV's mind-blowing futuristic Tango might just be the ultimate combination of touchscreen display and hardware controller.

The good old MIDI protocol offered the first industry standard for control devices and it continues to be favored by many manufacturers, albeit usually updated to the more modern MIDI-over-USB variety seen on everything from keyboards to control surfaces. However, there are a number of other options when it comes to choosing controllers, including the Mackie Control Protocol, the Open Sound Control (OSC) format, Euphonix's EuCon, Mackie HUI (Human User Interface) and Novation Automap. Furthermore, data can be transmitted over MIDI cable, USB, FireWire, Ethernet and now Wi-Fi.

The choice of which protocol, which mapping features and which connection method will work best for you will largely depend on the rest of your setup. Essentially, you're restricted to whatever protocols your DAW supports. The good news is that new controllers are gradually becoming less temperamental and easier to set up. Whereas in the past it took a fair bit of fiddling to get hardware and software to work in harmony with each other, most controllers available are now at least close to offering trouble-free plug-and-play operation.

In the past most controllers have been suitable for use with any software, but the popularity of Ableton Live has led to an increase in controllers designed specifically for the loop-based DAW and officially endorsed by the software's developers. The Akai APC40 and APC20 offer hands-on control of Live's clip launching and mix features, while the Novation Launchpad's neat grid-based setup ties in nicely with the software interface. We expect this trend will continue, with companies working together to create neat control solutions for specific software packages. Apple's close relationship with Euphonix, for instance, suggests we may well be seeing more and more control surfaces aimed specifically at Logic users over the next few years.

Furthermore, hardware controllers aren't just aimed at DAW users. A number of manufacturers have also identified the demand for dedicated DJ controllers to integrate with the range of DJ software on the market. Even the turntable and CDJ companies are getting in on the act, with products from the likes of Numark, KAM and Vestax bringing some of the hands-on feel back to laptop DJing.

Even if you can't find a dedicated controller or programmer for your favorite software, synth or plug-in, it's possible to create custom mappings using generic controllers. Some of the most ingenious controllers we've seen use cheap, easily available hardware units such as the Behringer BCR2000 and map them to the MIDl control functions of the software or device. With a labeled overlay or a bespoke enclosure to provide a visual indication of each knob's function, it's relatively easy to create a very neat custom controller setup that works perfectly for your needs.

Since the early days of the iPhone, app developers identified the potential of the handheld touchscreen hardware as a music tool. More recently, the larger screen of the iPad has made Apple's mobile platform an even more realistic alternative to dedicated hardware control units. The Wi-Fi capabilities and excellent multi-touch features make it ideally suited to remote software control.

Shockwaves ran through the industry following the iPad's release and it came as little surprise that JazzMutant, developers of the excellent but expensive Lemur controller, announced in November that they were discontinuing the product. Time will tell where the developers choose to focus their efforts next, but it wouldn't surprise us to see the release of a Lemur-style control software for third-party hardware devices. A Lemur app for the iPad would certainly make a lot of sense. However, there are already plenty of options for iPad owners. Blurring the lines between a software and hardware solution, the iPad's potential as a multi-touch audio controller is so huge that it's spawned dozens of control apps. From simple wireless transport controls (ideal for controlling your DAW from afar, say when recording vocals in a booth or sitting behind a drum kit) to complex customizable DAW control apps, the iPad can do almost anything your traditional hardware controller can.

Of course, there are a couple of downsides to be aware of. Firstly, the tactile feedback of a touchscreen is questionable- you don't feel a touchscreen fader move like you would a physical object. Secondly, there's no real way for programmers to offer realistic velocity control for pads or keyboards. If you're willing to accept those minor issues, iPad control apps such as touchOSC, Griid, ProRemote and touchAble (to name just a few) should be taken very seriously as an alternative to traditional hardware controllers.