Korg Kronos 1 [cracked] Review

This article dives deep into the history, the hardware quirks, the sonic engine, and the modern viability of the original Korg Kronos (2011-2014).

It is important to clarify nomenclature. Korg never officially called the first model the "Kronos 1." When it launched, it was simply "Korg Kronos." The moniker "Kronos 1" or "Kronos Gen 1" emerged after Korg released the (a RAM-upgraded version) in 2012 and the Kronos 2 (black chassis, larger SSD, new sounds) in 2014.

Why buy a 15-year-old Kronos instead of a new Montage M, Fantom 6, or Korg Nautilus?

Component modeling of Korg’s most famous analog synthesizers. korg kronos 1

The Kronos 1 is essentially an running a specialized Linux operating system. This allows it to run nine distinct, high-fidelity sound engines simultaneously: SGX-1/2 : Premium acoustic pianos with unlooped samples. EP-1 : Multi-dimensional electric pianos. CX-3 : Precise tonewheel organ modeling.

: Available in 61 (synth action), 73, and 88 keys (RH3 weighted hammer action).

: Used units may need screws tightened or felt replaced under keys to reduce "bouncing". This article dives deep into the history, the

: High-definition ROMpler for orchestral and general sounds.

The reason to buy a Kronos 1 today is the sound. Korg utilized a system called . Unlike a typical workstation that relies on one sample playback engine, the Kronos runs nine different synthesis engines simultaneously via an Intel Atom processor (D510 or D525) running embedded Linux.

The Kronos 1 is identifiable by its and physical disc drive slot (CD/DVD) on the left side. It came in three sizes: 61-key (semi-weighted), 73-key (weighted), and 88-key (RH3 weighted hammer action). Why buy a 15-year-old Kronos instead of a

This "multiple engine" approach was made possible by the integration of a custom-built Linux operating system running on an Intel Atom processor. While this sounds standard today, in 2011, it was groundbreaking. It allowed the keyboard to allocate computer power to different tasks, ensuring that a heavy granular synth patch wouldn't steal resources from the polyphony of a piano performance.

Combines FM synthesis with PCM playback and side-chaining.