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"I'll give you a good example: I did a rock concert with the Royal Philharmonic Orchestra. They had their orchestra and a rhythm section, you got three hours' rehearsal time, and then you had to play songs such as Bohemian Rhapsody, Stairway To Heaven and Layla – but you only got to go through them once. Everyone can play Stairway To Heaven, but until you've tried playing it in front of 6,000 people on your own, with an orchestra, wearing a dinner jacket... then you find that it can be hard!"
We ask Adam if nerves don't occasionally get the better of him in such situations, but he says that it's second nature to channel nervous energy into his performance.
"Everyone gets nervous: you aren't human if you don't get nervous. But I'm pretty lucky, because the more nerves I have the more focused I become. That's just an accident. You don't practise getting nerves, it's just something that happens. So it's a complete stroke of luck that nerves tend to make me better and more focused rather than the other way around."
With the chops and the temperament to tackle anything that comes his way, we ask Adam what sort of jobs he'll face on an average working week.
"There isn't really one, to be honest," he replies. "It could be anything. This time last year I had just come back from a world tour with [classical crossover singer] Katherine Jenkins. That said, this month is fairly typical, I guess. The Voice is taking up most of it, but I'm also doing pre-records for a new series of Upstairs Downstairs. The music is written by a guy called Carl Davis, who is quite a famous composer, so that's a lot of classical guitar. I also did a BUPA advert a little while ago. It's not very rock 'n' roll!"
With so much musical ground to cover, Adam says it's wise to acquire a number of reliable amps, guitars and effects to ensure that you never get caught out.
"If it was a studio session where I didn't know what I was going to be playing, then I would take a small combo amp. I've got a Dr Z and a Cornford and I use them a lot. Fairly low wattage is a good idea in the studio. But on The Voice I'm using a Marshall half stack, because there's people to move it around for me, basically!
"Guitar-wise, there's a Squier Pro Tone Strat that I usually take, and I tend to bring my Les Paul as well, so I've got one humbucking guitar and one Strat-type guitar. If a producer wants something special they'll let you know beforehand: if they say it's definitely a country session, then you know you have to take your Tele and a Fender amp.
"But if there's all kinds of music to tackle then it's different. I did the last series of Stars In Their Eyes and for that kind of situation you have something like TC Electronic's G System to cover everything, plus a good-sounding amp and a bunch of pedals. And you just have to take loads of guitars, basically.
"The most important things are boring, really," he says, "such as making sure your guitars are set-up properly so everything's exactly in tune"
"I've got a '59 VOS Les Paul, which I always take – that's a great-sounding guitar – and a PRS that I often bring as well. I use D'Addario 0.010s for everything except jazz."
In terms of skills, Adam says that in his line of work being able to sight-read fluently is a must, while your gear has to be kept in top fettle at all times.
"The most important things are boring, really," he says, "such as making sure your guitars are set-up properly so everything's exactly in tune. You need to make sure you don't have any crackling leads and that you've got spare valves for your amp and so on. Because the last thing you want to do is hold up a session. You need to be good now and not get in anyone's way."