Hello Phait,
Keep your workstation.
I'm not saying this because of narrow-mindedness, but because of a shared empathy of what you're talking about.
For years I recorded demos and originals using a TEAC 4 track Simul Sync reel-to-reel and a Tapco mixer. Everything was done using 'real' instruments in real time. No quantizing, no instant transposing, or the like. I then bought my first keyboard, a Roland Juno something or other, and was hooked. Before you knew it, I had a triple tier with various modules and keys, and I'm a bass player for God's sake! I even took piano lessons at the local University and paid for them by teaching Bass and Jazz Theory. It was just so much easier to get my ideas down and in some sort of form where they could be heard quickly. MIDI was a godsend. I would come in from the gig, work on tunes, then go to the day job in a daze. Exploring the myriad sounds and textures was enthralling and creative in its own sense.
What I soon found, however, was that I was beginning more and more to use the 'natural' instrument sounds on the synths; trying to emulate a 'real' band. This was OK because I could lay down originals and present them to the boys in the band, and they could get a good idea of what I wanted. I'm primarily a Jazz/Latin Jazz and funk player, so the stuff sounded much better when the band was throwin' it down, and it was because of what you are calling the 'performance' aspect.
I then had the good fortune to hook up with a keyboard player out of the Bay area who could swing his ass off, jam a Cumbia or Samba, but also use a synth to texture and color the music. He would do some of that Herbie stuff, some booga-nose in-yo-face funk with the advanced harmonies and rhythmic s**t goin' on. He could then turn around and play a sweet ballad or standard and use the synth to lay down some of the lushest pads and beds you ever want to hear. We gigged for a couple of years and had great fun.
Back on the home front I then found myself looking at my synth stuff in a different way. I became more interested in using the instrument for what it was. . . an instrument with its own creative potential and capabilities. It's kinda like going to the gig with only my electric bass (I play a Pedulla fretless and a Clevinger electric upright 'stick on a stand') and having someone complain that I didn't bring my acoustic doublebass. Once they "shut up and play" and hear what can happen, we usually kick it. I can 'perform' on either acoustic or electric.
I guess what I'm saying is that anything can be a 'real' instrument. I'm originally from Louisiana and have heard cats layin' it down with spoons, washboards, and whatever else was around the house. It's matter of perspective and how you approach it. . . . . . . I see my Fantom as a real instrument with a lot of potential, I just need to get my head around how it fits within the I music create. Almost all of my tunes are originally written from my Taylor acoustic guitar, one of my basses, or my Baldwin piano. I then take it to the Fantom and play flesh it out. Some of the Pads add great texture, and all kinds of other cool things get happening. I can explore polyrhytmic ideas and the like.
Remember when Dylan was booed when he played an electric guitar? And then Hendrix showed just how creative it could be. . . . a matter of approach. So keep the workstation. It's just another 'real' instrument. I'm sure you'll find how it fits into what you're doing. Just my very long $.02 worth!
And think, you'll save yourself the trouble of buying another board later on. . . .
; -))
P.S. (Sorry for such a long reply. . . )
Bassman
Bassman