No doubt it's hard and technically limited too, with the state of customer-grade sensors (like the mimu, or eye-tracking devices) and VR. There are still many h

No doubt it's hard and technically limited too, with the state of customer-grade sensors (like the mimu, or eye-tracking devices) and VR. There are still many hurdles to simply running VR devices, so we're far from the kind of adoption that would lead to meaningful inventive approaches to something as complex as what DAWs and their physical extensions offer. However it's more about thinking of musical creation very laterally. It could mean leveraging tilts of any place where one can put an accelerometer (heck, the OP1 does it in a gimmicky way to change any specific setting you want for a given track for example), your finger movements position in 3d space (mimu does some of the finger movement stuff), heck even smoothed-out eye "gestures" could be explored (google-glass-y devices would need to succeed since you're not going anywhere with current tech without invasive things like the EyeLink II). Pivoting around 360 degrees in a "musical cockpit" could also be a thing. Voice too, and NLP could be leveraged in creative ways (to bring forward different aspects of the tool or to give instructions at a high-level - "take the first four measures of the first guitar track and apply melodic inversion, shift down one octave and paste at the 2min mark on the bass track"). Different parts of the music-making process could take on different shapes in spaces that add multiple dimensions. As the mimu shows, a lot of what those dimensions do could be entirely configurable and fitting the creator. Conductors are a good example of someone leveraging rotations and depth (over half-sphere surfaces) to create expressions and rhythm and so on. Plus nobody has to throw away the current tools either, once could think of the advantages of AR (Augmented Reality) which could leave perfectly clear the areas of your synths (or under a certain line of vision or even physically marked delimitations) during a performance, and all of the glory of ye olde knobs and faders can remain intact. Current VR is out of reach for too many people for much experimentation (basically forces you to be on Windows, requires either heavy-duty hardware or has very little room for fine details), which means all the exploratory stuff to lead to even a subset of what I mentioned is only accessible to a handful of people so far. Same for multi-modal interfaces (the mimu is still a toy for rich artsy-techy people, the Tobiis are either too basic or too expensive, etc). But we're still in the infancy of much of these kinds of tools. And while the usual engineer will talk about why everything's impossible, a designer or an artist will always be curious to see what just could be eventually.