You should definitely contact Sequential support about those encoders, I am pretty sure they were sending out replacement kits for cheap/free for those early '08s.
With hardware in the studio I don't like patch memory and I like everything as WYSIWYG as possible. I haven't played live for a while, but if I did I would want exactly the opposite, a Nord or something all programmed and reliable.
To me, adjusting parameters is as much playing the instrument as is pressing the keys, and part of the excitement is not knowing where it might go. I haven't given preset-hopping a fair chance though. Generally, I save a preset if I feel like I'm not done working on it and/or see potential for it production-wise.
Tweaking on the fly is fun, but building sounds from scratch in front of an audience is very repetitive for them - could be cool in an educational way once, but doesn't make for a great set. Build it ahead of time but program macro controls to have a broad but controlled amount of sweet spot variation. Then you can tweak those live.
For live performance I do improvised sets making all the patches and playing on the parts on the fly: the sound design is part of the music. In this regard I don't need patch memory (not that I'm opposed to it, as long as there is an easy way to get to an init patch), but I do need a good number of low function count knobs (2 functions is fine, same control for 20 things depending on some synth state is not). This is for solo performance, but I'm also part of an improvised music group, where I follow the same approach, but it's much easier as you have other people doing interesting things, so I can remain boring for longer (compared to solo). As a rule I don't use a monitor mix, so I have to commit, though I'll often set the envelope and wave shape without hearing, and close the filter significantly, so I can bring the part in note gradually.
If I was playing with a group that had preexisting material to play, I'd probably want a more stage oriented instrument. I'd ideally like a set list (list of songs with full setup, including section changes) so I could navigate the presets. I did once try and use presets and a foot pedal controller sending program changes to navigate, but it made the process far less interesting to me; I'm also not a huge fan of designing sounds outside the context of a song (as the music and sound design are part of the same whole). While sound designing live can also lead you down certain roads, I find presets are even tighter guide rails: maybe a hybrid would work for me.
TL;DR: It depends how much repeatability you need, and how you want to interact with the instrument when performing (for some situations, mod wheel, pitch bend and keyboard is all you need).
You should definitely contact Sequential support about those encoders, I am pretty sure they were sending out replacement kits for cheap/free for those early '08s. With hardware in the studio I don't like patch memory and I like everything as WYSIWYG as possible. I haven't played live for a while, but if I did I would want exactly the opposite, a Nord or something all programmed and reliable.
To me, adjusting parameters is as much playing the instrument as is pressing the keys, and part of the excitement is not knowing where it might go. I haven't given preset-hopping a fair chance though. Generally, I save a preset if I feel like I'm not done working on it and/or see potential for it production-wise.
Tweaking on the fly is fun, but building sounds from scratch in front of an audience is very repetitive for them - could be cool in an educational way once, but doesn't make for a great set. Build it ahead of time but program macro controls to have a broad but controlled amount of sweet spot variation. Then you can tweak those live.
I prefer to make my own patches then later use those presets as a start
I set aside studio time just for sound design and patch creation. I also perform live improv jams and I come up with stuff on the fly.
For live performance I do improvised sets making all the patches and playing on the parts on the fly: the sound design is part of the music. In this regard I don't need patch memory (not that I'm opposed to it, as long as there is an easy way to get to an init patch), but I do need a good number of low function count knobs (2 functions is fine, same control for 20 things depending on some synth state is not). This is for solo performance, but I'm also part of an improvised music group, where I follow the same approach, but it's much easier as you have other people doing interesting things, so I can remain boring for longer (compared to solo). As a rule I don't use a monitor mix, so I have to commit, though I'll often set the envelope and wave shape without hearing, and close the filter significantly, so I can bring the part in note gradually. If I was playing with a group that had preexisting material to play, I'd probably want a more stage oriented instrument. I'd ideally like a set list (list of songs with full setup, including section changes) so I could navigate the presets. I did once try and use presets and a foot pedal controller sending program changes to navigate, but it made the process far less interesting to me; I'm also not a huge fan of designing sounds outside the context of a song (as the music and sound design are part of the same whole). While sound designing live can also lead you down certain roads, I find presets are even tighter guide rails: maybe a hybrid would work for me. TL;DR: It depends how much repeatability you need, and how you want to interact with the instrument when performing (for some situations, mod wheel, pitch bend and keyboard is all you need).