@frank I have read what you refer to as control. I personally prefer EWI fingerboard control to others (especially control of Matt Traub's EWI Patchman Music programming), although I am a historical sax/clarinet player. The control I need is the ability to leave and re-enter a register without using the octave slide (palm keys on sax/oboe or the bridge crossing Bb/A/Ab keys on clarinet). This is standard within Boehm fingerings. I did not invent this. Nor did I invent the ability for alternate low B/Bb left hand pinky fingerings, once again, leaving the octave without use of the octave slide. Additionally, right hand pinky Eb is always standard. The availability of these fingerings allow for the playability of virtuostic improvisation, classical passages, and the like (in other words, performance of complex musical passages that have been mastered after years of sweat-equity woodshed training) for musicians familiar with Boehm-styled fingerings.
Likewise, the currently produced piano keyboards uniformly do not surprise players by moving the position of the C#, Eb, F#, Ab, and Bb keys. That choice would limit the ability to sell the keyboards, regardless of the control/malleability of the sounds produced.
Finally, my request for improvements is also part of the natural progression of any instrument that becomes widely accepted by musicians and audiences. See below, links to a sampling of the historical relationships developed between musicians, composers, instrument maker and more recently engineers throughout history that are linked to instrument maturation.
Acceptance of an invention almost always spurs a desire for perfection of the original invention by the early adopters. From the clarinet evolution, to the saxophone evolution to the electric guitar iterations, and even the Hammond Organ engineering history, early adoption inspires the desire for improvement. I certainly hope that like the EVI/EWI1000/EWI2000/EWI3000/EWI3020/EWI4000s/EWI4000sw/EWI5000, the WX7/Wx5, the AE-10/AE-05/AE-01, the Sylphyo also evolves into what it must become.
BTW I want to play Sylpho every week at my gigs but cannot at this time, due to the lack of modern fingerings. After viewing YouTube, I can see that I am not alone. Can you imagine all the free advertising that Aodyo could benefit from, after turning the profit from increased sales over to R&D after wide adaptation (due to fingerboard improvements) by currently performing musicians on a global scale?!