It all began with that G minor chord
Where did your relationship with Pink Floyd begin?
With Shine On You Crazy Diamond, when I was a child. That G minor chord stayed with me. I wanted to recreate it, work out how it was made, understand everything about that sound. It became an obsession. It is my earliest memory of Pink Floyd, and it says a lot about how I approach programming: I hear something that moves me, and I want to understand it from the inside.
What does Richard Wright mean to you?
What he left us will endure. I believe Pink Floyd’s music and Wright’s artistic sensitivity
deserve to be studied in school. He had a unique way of finding his place within the band’s sound, of becoming part of it. Beyond the individual tones, that sensitivity is what still moves me today.
Which details can keep you working on a sound for hours?
The Hammond drawbar registrations, the Leslie settings, the percussion, all those subtle
shades. Then there is the way a chord is voiced. You can use the same notes, but distribute them differently and the whole sonority changes. To me, programming includes understanding that relationship between a sound and the hands playing it.
Why Infinity? What did you want this collection to encompass?
The idea was a kind of collected works, if you like. A journey through the sixties, seventies,
eighties and nineties, giving the less familiar sounds their place too. The world of
Ummagumma, A Saucerful of Secrets and More mattered a great deal to me: those Farfisa
tones, the Binson Echorec echoes I wanted to recreate, all those exquisite little details. I have always played the early Pink Floyd repertoire as well, and I wanted that part of their music to have room here.
Inside PF Infinity
From Endless in 2014 to Infinity: what went into that process?
Endless, which I created in 2014, was my starting point. Getting from there to Infinity took a lengthy reworking process, with a great deal of time spent listening again, comparing and refining. I revisited the character of the sounds, the effects and the way the parts are arranged across the keyboard. With repertoire I know this well, even small differences will send me back to a sound. I also wanted to bring everything I had learned in the intervening years into this work.
What does the collection offer a keyboard player in practical terms?
128 sounds, with setups tailored to songs and individual sections. The Combinations bring together splits and layers: parts assigned to separate keyboard zones or stacked together, according to the arrangement. The palette includes Farfisa, Hammond with Leslie, Rhodes, acoustic pianos, orchestral textures, leads and sequences. There are recreations inspired by EMS, Minimoog, ARP/Solina and Prophet-5 sounds, alongside samples associated with the repertoire. The focus is always on each sound’s character and its place in the arrangement.
Which instruments is it available for, and how does it work on Nautilus?
PF Infinity is available for Korg KRONOS and Korg NAUTILUS, with the handling of the parts adapted to each workstation. On NAUTILUS, samples are triggered from assigned keys in the lower register, often the lowest C, depending on the setup. Splits and layers place the required parts under your hands for that section of the song. You choose the edition intended for your instrument.
How much of yourself is in PF Infinity?
All my experience, all my heart and all my passion. I have been playing this repertoire for most of my life. This collection holds what I have learned from listening to it, studying it and performing it. It is deeply personal to me.
