Espen Kraft’s Minimalist Gig Prep: From Rehearsal to Rave Bunker

Let’s get one thing straight: Espen’s not about to drag a Hammond B3 up three flights of stairs for a one-off gig. His weapon of choice? The Roland Alpha Juno 2 as a master keyboard—light, portable, and with keys that don’t feel like cheap plastic. The rest of the setup is pure efficiency: MacBook Air M1 running Mainstage, a physical MIDI controller for hands-on tweaks, and a Zoom H6 to keep the audio clean. No room for vintage purism here—just tools that work and won’t break your back.

Espen’s approach is all about keeping the setup lean but flexible. Three core sounds—B3 organ, a split brass/organ patch, and a soft pad—cover all the bases, with minimal patch changes and just enough control to keep things lively. He’s even got a Korg TR-Rack stashed as a backup in case the laptop throws a wobbly. It’s not about looking cool—it’s about surviving the gig and getting the job done without a hernia. If you want to see how he dials in the sounds and rides the Mainstage interface, the video’s where the magic happens.

Espen lays it out: being the keyboardist in a guitar-centric band means knowing your place. He’s got carte blanche to add colour and counterpoint, but the real skill is in restraint. Sometimes, the best move is to lay out and let the guitar breathe. It’s not about flexing every synth patch you’ve got—it’s about serving the song, not your ego.

He walks through his process: transcribing chords, figuring out where to add pads or harmonies, and—crucially—leaving space. It’s a balancing act between filling out the sound and not muddying the mix. Espen’s philosophy? Taste over flash. If you’re the type who thinks every gap needs a solo, this video’s a lesson in musical discipline.

The real meat of the video is Espen’s breakdown of specific songs from the setlist. He starts with a slow, atmospheric number, showing how he uses soft pads and careful chord inversions to add depth without stepping on the guitar’s toes. It’s all about subtlety—sometimes just two notes, sometimes a gentle counter-melody. He even explains how using different chord inversions from the guitarist keeps things interesting and avoids that dreaded sonic mush.

Then it’s on to the fast blues/rock territory, where the temptation to go full Jon Lord is strong. Espen resists, holding back the big organ riffs until the right moment and keeping his parts tight and supportive. He demonstrates how less is often more—especially when the guitarist is meant to be the star. There’s a lot of talk about leaving space, building up gradually, and only unleashing the keyboard firepower when the song really calls for it.

If you want to see the actual patches, hear the riffs, or watch Espen’s hands in action, you’ll have to check the video. There’s only so much keyboard wizardry you can describe before you need to hear it for yourself.