PF Infinity in our live setup on the Korg Kronos
How a Sound Library Becomes Part of the Show
Playing Pink Floyd live means dealing with details, shifts in atmosphere, and keyboard parts that often change multiple times within the same song. For us, PF Infinity – Pink Floyd Anthology V3 has become, above all, this: a way to bring sounds and setups already designed with the music in mind onto the stage without interrupting the flow of the performance.
From Sound to Song
In the Pink Floyd repertoire, a keyboard setup rarely remains the same from beginning to end. On The Dark Side of the Moon, for example, Rhodes, organs, synths, sequences, and sampled parts constantly move in and out of the musical narrative. Having configurations built around Breathe, Time, Us and Them, or Any Colour You Like makes it easier to follow the dynamics of each track and stay focused on what is happening on stage.
With Shine On You Crazy Diamond, the sound changes yet again. The intro, pads, pulses, leads, organs, and final sections all call for different soundscapes. What’s helpful for us is being able to think of the setup as part of the arrangement: what we need is already there when the time comes to use it.
The same applies to The Wall. Tracks such as Another Brick in the Wall, Hey You, Mother, Comfortably Numb, and Run Like Hell require quick transitions between different sounds and functions. Organizing the setup on a song-by-song basis makes the performance feel more natural and leaves more room for the musicians to listen and respond to one another.
“Yet Another Movie” is perhaps the most obvious example. Drum tracks, arpeggiators, piano, Clavinet, pads, and bells all coexist within the same musical structure. We don’t perceive them as a series of separate presets, but as parts of the same musical environment. That’s exactly the kind of approach we need in Pink Floyd Infinity.
On stage, it's all about the FLOW
During a concert, there’s practically no time to search for, correct, or reconstruct a sound. What matters is having the material already organized in a way that’s consistent with the structure of the piece. Splits, layers, controls, and samples thus become tools that serve the performance, rather than technical elements that need to be managed while playing.
On the Korg Kronos, we also use the PADs to trigger certain samples; on the Nautilus, the same approach can be applied to dedicated keys. The way you access the sound changes, but the principle remains the same: everything must be available at the exact moment the music calls for it.
PF Infinity – Pink Floyd Anthology V3
128 Combination · Korg Kronos / Korg Nautilus · song-based live setups