Burnan Cross - Yamaha PSS-480 Demos mp3 flac download

Burnan Cross - Yamaha PSS-480 Demos mp3 flac download


1 Gillian Gilbert Rip Off 4:03
2 Scheme 5:42
3 Like A Sunset 3:57
4 Sepia 3:41
5 Sad Spider 2:55
6 When The Comet Shall Run 6:03
7 3 Cig Dance 10:00
8 And Gate 7:15
9 Chanelle 4:34
10 Precursor Hand Rot 4:24
11 Daredevil 4:09
12 Daredevil Slow 4:46
13 Gillian Gilbert Rip Off (Remaster) 4:08
14 Scheme 2 5:57
15 Forever Redlands 7:51


  • Producer – Burnan Cross


This is a collection of recordings done solely on a Yamaha PSS-480 keyboard. Composed, performed & recorded by Burnan C. between 1993 & 1996. CDr finalized for release May, 2015

Burnan Cross ‎– Yamaha PSS-480 Demos

These tracks were recorded over time and thus strewn across a plethora of unlabeled cassette tapes. It took quite the effort to compile this collection. Going thru my tapes I have a neat function on my cassette deck (JVC TD-W318) it can “search” for stuff in the blank spaces. Put the function on fast-forward “play” and if there is any kind of sound or music found it will stop and play it. This function helped tremendously while going thru my long periods of silence on tapes. That is how I found what I recorded back in the day (1993-1996) or there abouts. It was my college years at Redlands where I found the Yamaha PSS-480 keyboard in an adjacent dorm room, on a shelf under a pile of dust. I saw it stored high and crooked on the shelf, with its keys peaking at me as if it was being coy. Dirty and alone I asked the owner if I can borrow it, he let me and I never gave it back. In my mind the keyboard found me. With this keyboard I found a friend. I grabbed that keyboard off the shelf and took it home (to my dorm room next door), cleaned it and told myself to grab it tight and never let it go. It was mine.

At this point all I was, was a failed wannabe drummer. In high school I wanted to be in a goth band and be a drummer. I got a drum set and whacked away only to find out I sucked. Couldn't keep a beat worth a damn. But I tried. It was frustrating not being able to do what you dream of and seeing others do it easily. Some people just were born to keep a beat, me not so much. Maybe it was for the best but still, if only. I remember a good friend from high school saw that I got a drum set and asked me why did (I wasted my money) go and get that. I was floored at his attitude. This guy seemed to liked the same music (bands). I was kinda wrong about him, we might have liked some of the same songs but by him putting down my drum dreams I had to find a new friend. To me there was not much more important than music. My anti-drum friend was telling me in so many words that playing the drums is a dead in road. He was dissing on the music culture. And yah I get the fact the music business is fraught with disaster stories, but if only I can survive it and make a mark, I thought, even if I didn't have a hail mary chance. My anti-drum friend ended up a cop, so whatever. All I wanted to be was a drummer, nothing else mattered. Music was huge with me, but mostly as a fanboy. I created Tragic Bath in spite of my lack of talent. But now in Redlands failing at drums was a distant memory, I now had a contraption that can keep a beat for me.

The Yamaha PSS-480 was a tad outdated even for 1994 being that is was made in 1987 but from what I came from musically having done at that point “Hell is where the Action is” and “Blue Swamp” and in the middle of recording what was to become “Demonic Impersonation” and “All His Past Beliefs” the Yamaha PSS-480 was a wunderkind. The most advanced piece of tech I ever had. But that wasn’t the point of it all. The projects I just mentioned were not based on tech, it was the opposite. I had a desire to work in a archaic realm (Mainly because I had no choice). If you listen to “Hell is where the action is” it's devoid of the current era technology and that was its point. I wasn't trying to be cutting edge. I thought if using a keyboard from 1987 was going to make me sound dated then date me. I thought it could in fact make things timeless.

My approach was simple. Get as much out of the Yamaha without learning a damn thing musically. I wanted to make amazing things but if you asked me how to play “Marry had a little lamb” I was stuck. I liked that contrast. Basically I wanted to be dumb. More like naive. I wanted to keep my virginity of the Yamaha as long as possible. Like approaching “Hell” and ‘Blue Swamp” etc. there was an approach of finality, a natural process of order and sticking with it no matter what and to have guts to say this is me, and fuck you about it. I just needed a device an instrument that channeled my power, more or less. My not knowing proper notes and structure was therefore an advantage. At least that is how I thought since to me I wasn’t suppose to be doing any of this anyway. I knew the basics, to keep things simple, preferable in 3’s as in layers. Doing previous noise and experimental recordings you gotta have the minimum of things going on, at least 3. So just apply those same principals to the keys. I do all this upfront for protection, protection from my lack of talent, so I thought. Bring in some order of a system, at least apply something regarding rules to help me, then I can build the frame in which to fill in, which is the fun part. I been around music people who actually plays guitar and drums and do it well. I was jealous but I did something about it. I could never learn guitar or keyboards etc but I had a keyboard and there is nothing nowhere that says I couldn't do great things with it. There is no rules except my own, that is the beauty of art and if needed to I can cheat. You can’t cheat in other school subjects like one can as an art major. I would make my rules and brake them. To those who have talent well look at me! It was about proving convention wrong. With my other projects simmering, I decided to soldier on into the abyss with this keyboard for better or worse.

More that anything the Yamaha PSS-480 helped my mind. It helped me in a trying time. College (Redlands) was such dark times mentally. I just had a hard time connecting with people there. Looking back it’s a wonder I made it out alive, it was that dark of a time. Depression took hold of me, it infiltrated my every cell and stayed there mocking me. I had visions of weird things, a red devil face who talked to me most nights in my slumber and witches fucking me up with massive spells. (There really was witches in Redlands, and they talked to me telepathically, no shit) Dark forces and thoughts, visions pervaded my soul regularly. It was like I was a trapped lab rat being feed the dark arts and not being able to escape. It was that bad and then some. So when I saw the Yamaha, it was a bright spot in the muck. I played it ad nauseum. My roommate at the time could contest this fact, I literally slept with it on my chest still on. I started to think in patterns, my recording background with the Fostex 4-track helped me learn the multitrack functions on the Yamaha. There as 5 banks to play with, in which I could record unto and thus playback at anytime. You can mess with the effects and make custom sounds.There was a custom drum function in which I could take an preset drum pattern and add to it thus making it custom. The record banks were limited in time, some longer than others, so I had to know what those differences were. What you hear here is basically “live” recording except for the banks that I recorded before and playing back. It was like a 4-track but I had immediate access to the tracks and able to play them by hitting the back playback button, at anytime I choose. So timing was very important. I would normally fuck around with the custom drum function, get a drum pattern I liked and played over it and composed a song, and I mean played and played and played over it, over and over and over. I would get locked into patterns and tones. While finding this stuff on my old tapes, I would run into long refrains of me playing the same damn key line over and over. It was horrible, why did I record such things. I did learn discipline. Discipline of being precise on the hitting the keys. The keys on the Yamaha are a tad small so it was easy to hit the wrong key and mess it all up. I had to be spot on or it would be a failure and I would have to start over. So thus there is many failed takes on the tapes. Its almost a crime for anyone who listens to this collection in this easy manner because these tracks are the best of the takes all here in one place to easily listen too. How convenient for you all.. For me, I had to endure endless monotonous playing and messing up. For example on “Like A Sunset” there must be dozens of fuck up versions. When I finally had “Like A Sunset” ready to record, I had to perform it live. The timing had to be right. I was pushing buttons all over the place. All these things nobody else would know or see by just listing to “Like A Sunset”. Also if there was a fade out mostly those were live too, I would either slowly turn down the volume on the Yamaha by hand while still playing or turn the record level down on the tape deck. Fading out in post production was a new concept for me in which I found soon after with my first Mac computer using SoundEdit. So I had to think of the ending of a song and know what to do at that point, and don’t mess up. My approach was to have a beginning, middle and end. Eventually I would nail a version and call it done and that is what is all present on this release. If it sounds like I'm complaining about the process then I am sorry, I am not, I wouldn't have done it any other way. I am just explaining what I did.

So if anyone is actually reading this, I wonder if any of this backstory helps or not. Maybe it's better the listener is completely in the dark about the process. But I know for some people the process is important. If this helps then let me state that I am not a keyboardist per say, I don’t know crap about music theory. I am not a music student who reads and writes music and to play “Marry Had A little lamb” is a mitigated joke to even consider because it's so easy. I was able to learn to compose these songs with total repetition of patterns. I created my own music theory from scratch. Self taught to the fullest. My priority was sounds and tonality and timing. I did sometimes have to do math in my mind, I made up my own math, and did have to write things down, but a musician I am not, I still to this day don’t know the basics and it's how I like it. There was a strange encounter while in school I had with a fellow student whom I only seen around campus a few times. Redlands campus had music majors all around and he was one of them. It was late at night, and there is a big church on campus. It was just a short walk. In the dead of night I snuck in there looking for the organ or piano to play. I forget who was there first me or him but this guy whom I never knew his name showed up too. Just me and him. I guess he had the same idea as me and we ended up having a unspoken piano battle. There was multiple pianos and we both were on one kinda far from each other. He would play a part then I would. He was much better than me technically. But I stood my ground and kept it going. It proved to me, I was able to hang with the big music students and dish out piano stuff while not knowing jack crap. I laughed to myself over it.

So this collection “Yamaha PSS-480 Demos” is not a love testament of this instrument. Its not me saying hey I love this machine so much I had to make an album with it to prove I rule at piano. No this collection came out of necessity, a desire and drive to commit myself for better or worse to something foreign to me. To create something out of a dusty unused keyboard. Even though it's done with a Yamaha PSS-480 it's not about it. It could have been any keyboard I found. The story is this machine found me, in my darkest hours and kept my mind intact for this period of time. This is a record of my time there in the dorm, this is what you would have heard if walking by. Therefore I thought of this keyboard as something beyond what it was. It found me for a reason. I used it to its limits that I understood and tried to crack its code. I thought insistently of finding its weak point and exposing it. This collection is a testament to the power of proof. These recordings is proof I overcame my own limitations and turned it back onto itself while never asking if it would have been better to just learn piano to begin with. I was so musically challenged taking piano lessons would have be a joke. Like a wannabe drummer, I was a wannabe keyboardist but I didn't have to keep a beat which I couldn't do and that's the whole point of drums. But I was able to play some keys. Later I explored more things this keyboard can do as in Midi which I cover on “Razor Wire: Music from the hit video game”. I would use this keyboard for other projects too later on but this collection is just all the stuff I did on the Yamaha by itself. Its hooked up with a RCA cable to a tape deck and me playing it live, that’s it. No overdubbing or multi-tracking except on the machine itself.

So on the surface these tracks may sound primitive, but they were huge accomplishments for me at the time. They were a struggle to achieve. The trick is to make it sound easy, as if I was some sort of pro. I remember a girl student walking by my dorm room as I had the door open and playing one of these recorded tracks and her mouth was agape. I had no confidence in the song (I think is was 3 Cig Dance) as I was too wrapped up in it and judgemental. But she was totally floored by it. She later said she could never put a song together of anything reaching what I did. She said not everyone can do such things. So that taught me yes there is way better musicians way ahead of me in music knowledge, but there was also those musically below me, like that girl. That meant something to me as if I had a place, a place I fought for and got to. Remember music is all that mattered to me, it was important to know such things on how that girl viewed me. Even though I was an artist in other media, music to me is the tops, it is the top art form in my view and for me to be considered relevant in the music or sound realm is all that mattered. Still does.

Overall I may be overstating things a bit here and explaining too much which goes against one of my rules as to not interfere with what I produce for it must speak for itself. Like how I stood my ground in my grand piano duel in the church, these songs must stand on their own without any excuses and in the world of music and if it doesn't then I have failed.

As a side note I dont play this keyboard much anymore and could never reproduce these tracks on it or even play it as this well ever again. Once a song is over I had to write over the sound banks and custom drums to start another. If the batteries go dead it will clear the banks too. Years later (after college) I lost the original keyboard somehow. I think it was stolen. I ended up finding another one in the classifieds and used it on other music projects here and there. So the keyboard I have now is the one pictured on the cover art and not the one actually used in recording these tracks. Does it matter? No. Just ironic.


1: Gillian Gilbert Rip Off: I named this because to me it sounded similar but not half as good as women keyboardist in New Order whom I am a big fan. I wasn't trying to rip her off LOL. I named it later on more as a joke.

3: Like A Sunset: Maybe the most difficult to get right. I remember doing it over and over. The last minute was a bitch to not mess up on.

6: When The Comet Shall Run: The biggest song on here in my view. Made a music video of it for my senior project. I later tried to incorporate it with a TB album which would be half experimental noise and half PSS-480 keyboard stuff like this. It didn't work so this track belongs here.

7: 3 Cig Dance: In this fucked up day and age maybe I shouldn't admit that I smoked 3 cigarettes in a row while listening to this. Thus its name.

8: And Gate: I did have to take a math class, and it was some sort of weird math like math logic or whatnot. There was this theorem or math problem called “And Gate”. I thought it was a cool name. This song was done over and over. This was mostly presets I had to hit at a certain time or it was ruined. I do regret the backing ethereal keys I did was not a tad higher in the mix. I just cant fix that now or I would. It was a mistake at the time I have to live with. But one can still hear it, just have to listen more intently, maybe thats a plus.

11: Daredevil: I got into comics somewhat during this time. I just went into a comic store one day and left with a few Daredevil comics. I had no knowledge of Daredevil before just liked the name and artwork. It was during the ‘Tree of Knowledge” series. There was a cool outfit called “System Crash” a band of characters bent on fucking things up like computer systems etc.

12: Forever Redlands: I just now named this track. Before it was named nothing. It was found as is on a unlabeled cassette. So as the title suggests it's an obe to Redlands. I named it this now because looking back I recall falling for the hype of “Batman Forever” (HATE THAT MOVIE) but at the time I was so looking forward to it. I remember in the theatre on opening night I believe right before the opening credits was to start a little girl maybe 8 years old yelled out loudly so everyone can hear “BATMAN FOREVER” like a little girl would who was enthralled with the experience. All this mean nothing Im just saying. Listening to the song now it's me zoning out on the keys, it kind of just summed up my experience in Redlands so “Forever Redlands” it is.

Burnan - May ‘15

Burnan Cross - Yamaha PSS-480 Demos mp3, flac download free. zip, rar arhcives.

Burnan Cross - Yamaha PSS-480 Demos
Performer: Burnan Cross
Title: Yamaha PSS-480 Demos
Label: R.A.N. ‎– RA-013
Type: CDr, Album, Stereo
Country: US
Date of released: 2015
Category: Electronic, Pop
Style: Ambient, Electro, Synth-pop
MP3 version ZIP size: 1876 mb
FLAC version ZIP size: 1705 mb
Rating: 5.0/5
Votes: 260