I have tried to chose pedalboards that are portable, in case I might perform. But let me say that there's a price to pay for this in that all of these mini portable pedalboards are awful to play serious music on, especially liturgical and classical music. I find it nearly impossible to play stepwise lines smoothly, not to mention having to constantly transpose notes down. Even the Hammond 25-note was of such poor design for this type of music.
On my present set (Hammond XPK 200L), the notes are longer than the tiny stub type. I've many times read that this is to facilitate toe-heel playing, but I think just who says this is of the utmost importance. Jazz players use toe-heel method, but this is primarily with the left foot, while the right foot remains on the volume pedal, and with a smooth legato being of little importance. With liturgical/classical music, toe-heel means both feet, with a perfect legato, and with the constant crossing of one foot before or behind the other. Hence, when studying organ, you do scales and arpeggios up and down the entire length of the pedalboard - even in sixteenth notes. It's a rather elaborate and impressive dance (as my wife likes to call it), and it's amazing how much music you can make just with your feet. But that's on a proper church organ pedalboard. The differences with the other mini pedals are substantial. For one, you have to nearly dislocate your hip in order to play the lowest note with your heel, since the minis are neither concave nor radiating.
I thought the solution to the problem would be in getting the Hammond 25-note pedalbaord. Not a chance; it has its own problems. The Hammond notes are triggered with the slightest touch, the most miniscule depression of the note. With a serious church organ, the note is triggered only after you've pressed down on it a half-an-inch or so, which allows for precise control and definition. It takes a slight effort to trigger it, but this results in exacting musical lines. Hammond also follows a different physical positioning of the organist in relation to the bench, pedalboard, and keyboards. I'm six-feet tall, and I found it very difficult to play the Hammond 25 because my knees were hitting the underside of the keyboard, and thus, my control of the pedals was poor. And this is using the proper Hammond bench for the XK organ. I've never had such problems with the many church organs I've played.
The result of this musical mess was for me to try to re-design my own organ set up: two Prophet '08 Keyboards, Modules to the left and right, a proper organ bench, and the pedalboard. The configuration even visually resembles a church organ.
I realize I'm only dreaming out loud, but, if synthesists followed the wise example of organists and seriously pursued pedal-playing, we'd probably see the advancement of synthesizer music out of the esoteric shadows, the maturing of the synthesizer as a serious musical instrument, less experimentation and more serious music-making, and possibly even a new style of music altogether. I've always felt modern synthesizer music was handicapped, due to the vacuum created by the absence of effective bass lines. It's one of the causes, in my outrageous opinion, that synthesists are so often enthralled with a dozen devices to fill in the blanks, and that multi-tracking seems to be the norm, rather than the exception. But imagine, instead, many serious and composing synthesists equipped with five-octave keyboards and 25-note or more pedalboards. Yes, a new style of music could arise from this arrangement - perhaps a variation on modern classical music - and the synthesizer would no longer have to sit amid the usual array of gadgets...those electronic crutches.