I have used that Krome blending the horn section with the EPS sampler's horn section to be the supporting horns in that Southside Johnny band I was in. I pretty much WAS the horn section. With the live horns standing out front, but mixed WAY back out in front, nobody knew the horn sounds were 90% from me and 10% from them. I may now spring for a Korg Nautilus, the board that replaced the Kronos. One I spent time with it and learned how to make the sound layers it turned out to be a great sounding board. And I just made a "Combi" for every song I played that was not on the Combi I called "Base" so to move from song to song was just a matter of rolling the jog wheel to the right song name. I think I had 9 Combi setups. No more remembering what sounds I needed for each song. I had a similar experience in the Motown band but that was done inside the MX8 MIDI patch bay and that thing required a PhD in electronics to program!! Because on the ESQ-1 keyboard, internal banks are 10 sounds each, so bank 3 sound 4 was the 34th patch. but no no no, because MIDI (correctly) runs from 0-9 it was sound 33. Yet on a board with 8 sounds per bank, where I would normally think of bank 7/patch 2 as 72, that sound is patch 50. And that box stored the master/slave configuration, so controller 2 had to run to sound source 1,2,3,4,5 or 6. It was a nightmare to get used to, but I had 17 setups for the 3 boards and 3 rack modules. I had (still have) a program transmitting keypad set to channel 16, so when I wanted setup 7, I input the 7 key and then enter and it changed everything. BUT... 2 of those sound sources were samplers using floppy discs so I had to make sure I had the right disc in them before pressing enter.

Part of why I never drank on a gig. LOL!

Time to go read your link.