I looked briefly at Gig performer but then this thread came up. At 25% of the cost, VST live was a no brainier. I like the set organisation. It is touch friendly and I found it quick to work out the best way to set up my songs.
Gig Performer is priced at $149, and a macoS and Windows bundle is available for $199. I think the no frills pricing structure of Gig Performer makes it a more attractive offering. Practically speaking, it has all the necessary features for live performers, and comes in at $50 cheaper than Cantabile Performer Pro.
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During the trip, the young performers also got to visit Barcelona, to enjoy everything from the architectural majesty of La Sagrada Familia to the peace and calm of the Montjuc hills and the beach. They also performed in a special lunchtime concert in Calella's Esglesia de Santa Maria in Sant Nicolau.
I've used a two keyboard setup in the early years. Later i used vsthost and Cantabile 2 performer as plugin host. when I saw the presentation of unify by Skippy, I didn't hesitate to buy it and i've not been disappointed until now. The ability to integrate my plugins into that intuitive environment and combine them with the features, unify's including, brings my sound to the next level. I'm integrating it into my live rig, with the GrandStage and another midi Keyboard both connected to my (Windows 10) Notebook using different midi channels per layer. I'm also using a Korg Nanokontrol 2 programmed to trigger the macro knobs for taking control over the layer's levels and effects.
As to whether your approach is "old-fashioned", as far as I know, most live performers prefer to use an actual hardware synth/piano/organ as their "MIDI master keyboard", rather than a MIDI-only device, because this will allow them to keep going in the event of a computer or software failure. Most do not try to integrate their MIDI keyboards/modules tightly into their software setup, but this is probably because there has been so little good software support for that. I'd like to see what we can accomplish there.
The second and final movement, like finale of the op. 109 piano sonata, is an expansive set of variations in a slow tempo. Designated as an "arietta," the movement begins with a lyrical theme in C major. The first three variations present an increasing challenge to the performer as Beethoven has marked the tempo to remain the same, but in each variation the rhythmic subdivision of the beat gets smaller. Modern performance practice results in a very slow tempo for the theme to accommodate for the increasing rhythmic activity. Following the third variation, the structure of the theme is not as strictly adhered to as before. The fourth variation departs from the galloping triplet rhythms of the first three variations and adopts a tremolo-like figure embellished with syncopated chords and brilliant figurations in the right hand. The constant tremolos and arpeggios continue driving the movement forward through a kind of interlude before the theme makes its return in an ornate coda. The sonata then evaporates in descending scales and finally, the descending leaps, countered by an ascending dominant to tonic progression, found at the opening of the theme. Joseph DuBose be457b7860
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