Kronos 73 Keyboard Workstation

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Kronos 73 Keyboard Workstation
Kronos 73 Keyboard Workstation Kronos 73 Keyboard Workstation Kronos 73 Keyboard Workstation Kronos 73 Keyboard Workstation


A sleek workstation with 9 sound engines and advanced virtual memory technology for unbelievable results.

The 73-key Kronos is more than just another instrument. It is a landmark in synthesis and workstation evolution; one that represents fresh ideas and groundbreaking technologies. Kronos unites multiple sound engines working in tandem and interactive performance functions that reflect the way musicians play. Most importantly, Kronos provides a seemingly endless supply of stunning, spectacular sounds.

The Kronos Music Workstation is the singular instrument built for live performing musicians; for artists creating in a studio or computer-based production setup; and for musicians and sound designers looking for the ultimate synthesizer. In designing Kronos, Korg heeded the advice of many musicians, listened their requests, and has vowed to deliver.

Kronos offers the pinnacle in keyboard sounds; accurate and responsive to any player's individual style. The expansive control surface boasts joysticks, sliders, knobs, switches, a ribbon controller, assignable pedal inputs, and, obviously, Korg's enhanced resolution color TouchView display. New features include the easy-to-use Set List mode for song-specific and gig-ready sound pallet, and Korg's Smooth Sound Transition function. It also includes the responsive action shared with the Korg M361.

For many, the studio is where the real work gets done; from laying down tracks, to filling out grooves for an on-stage blowout, to providing the soundtrack for today's media rich environment. For these creative leaders, Korg has armed the Kronos Music Workstation's sequencer with 16-track MIDI tracks, plus 16 audio tracks, Korg's Open Sampling System, stunning hi-fidelity effects, as well as perfect plug-in integration with lots of popular DAW platforms. Kronos is also stocked with incredible sound, dynamic drums, and an amazing array of high quality sound effects. Add to that the ability to utilize KARMA (explained below), the Drum Track, and the sequencer's RPPR to significantly speed up and enhance the music creation process.

In addition to being Korg's finest workstation, Kronos has it in its DNA to satisfy the programmer, sound designer, and synthesizer fanatic; the musician who dreams of making visions of the cosmos into sound, of tweaking parameters to conjure unimaginable sounds from the ether. Kronos reignites Korg's founding dream that is at the center of synthesis: the excitement and enjoyment of crafting new sounds, sounds never heard before. A multitude of exclusive Korg technologies power the synth engines to generate incredible results—VMT (Virtual Memory Technology); CMT (Component Modeling Technology); Physical Modeling, Digital Synthesis, Wave Sequencing, MDS (Multi-Dimensional Synthesis); KARMA and more!

Kronos contains 9 different synthesizer/sound engines. While each is deserving of a separate product in its own right, Kronos unites them all into a single, integrated musical instrument. Dynamic voice allocation and new technologies enable all sound engines to fluently share a stable, enhanced hardware platform. The results are nothing short of amazing. ?SGX-1 Premium Piano?Piano sound engine, to correctly capture the rich character of a concert piano, Korg declined to work within the limitations of existing sampling methods and made use of Virtual Memory Technology (VMT), able to play large samples right from the internal high-capacity Solid State Drive (SSD).

The SGX-1 Premium Piano sound engine boasts two distinctive grand pianos; a rich German D piano, and a powerful Japanese C model. Each utilizes superb, unlooped stereo samples sampled at 8 velocity levels for every single key. Meticulous attention to detail retains the realism and warmth of the piano sound; this extends even to sampling and reproducing the body resonances of a real grand piano, as well as the mechanical noise that happens when the keys are played, or the damper pedal is pressed and released. The framework of any keyboard instrument is the piano, and the SGX-1 engine enables Kronos to confidently deliver on this sonic ideal.

Korg's new EP-1 sound engine is committed to accurately recreating 6 of the most ubiquitous vintage electric pianos. The MDS (Multi-Dimensional Synthesis) technology gets rid of the transitions between velocity-switched samples, and gets rid of the unnatural behavior of looped samples. It also offers the user unique control over the tines, reeds, and noise components that make up the essential characteristics of these timeless and legendary electromechanical instruments. The MDS sounds respond naturally to the finesse of the player's keyboard touch. This technology also provides an incredible dynamic range so that the energy of climactic passages is well preserved. Every one of the 6 electric piano models offers realistic emulations of the period amp, cabinet, speaker, and even the difficult-to-find 
vintage effects that gave the original instruments their unique sound. From the sounds, to the feel, to the effects; every part has been coordinated into a single package to craft the ultimate electric piano experience.

The original Korg CX-3 combo organ appeared in 1980. Revered by musicians around the globe, this classic organ reemerged in 2000 as a brand new product with the same name, but utilizing the latest technology of the time to accurately model the tonewheel organ sound. In Kronos, the CX-3 engine meticulously models this classic tonewheel instrument. Proprietary Korg technology has been utilized to flawlessly reproduce the vacuum tube amp, and effects like the Vibrato/Chorus and the "must-have" rotary speaker. Even the instability, fold-back, leakage, and noise aspects of the tone wheels have been painstakingly analyzed and emulated. Take complete advantage of Korg's exclusive EX mode and go from 9 to 18 drawbars (13 footages plus 5 to determine the percussion) and create even richer and more detailed sounds. The organ sounds featured in legendary performances—some of which are recreated here by the original artists—are now available for the playing. Go ahead and experience these legendary organ sounds, remade for the present day.

The HD-1 was labeled "High Definition" because of its remarkable sound, beginning with Korg's proprietary low-aliasing sample playback oscillators, full-bandwidth multimode resonant filters, and incredibly fast & smooth envelopes and LFOs. Once more, Korg's SSD and Virtual Memory Technology (VMT) provide the HD-1 access to a larger sample set—gigabytes in size—than would normally be stored using internal memory. The HD-1 boasts all of the essential sounds in incredible detail, from orchestral to hip hop, to classic rock, all immediately available. The huge array of samples offered by Kronos is unmatched by previous hardware synthesizers or samplers, and is a superior fit for film, video, and sound effect work.

Originally introduced on the Korg WAVESTATION, and used here as component of the HD-1, Wave Sequences play a series of samples over time, generating distinctive rhythmic timbres or smooth, intricate evolving sounds. Additionally, step-sequencer modulation outputs enable Wave Sequences to control any modulate-able Program parameter. Take advantage of this robust sample content to craft incredibly realistic drum parts. The Ambient Drums offer two kits. Each one provides three separate miking positions, capturing the entire kit, (with the snare on and off), and the individual hits. The HD-1 voice architecture enables custom blending of the drum's direct sound with the ambient sound layer, adding a finished quality to the track.

Feature-packed, the AL-1 is the same top quality analog modeling sound engine that was first debuted on the Korg OASYS, the Open Architecture Synthesis Studio back in 2005. Its proprietary ultra-low-aliasing oscillators (utilizing totally different technology than the HD-1) emulate all the might and glory of real analog synthesis without nasty artifacts. Morphing waveforms enable users to change the oscillator shapes in real time. Resonance modeling allows users choose between classic filter sounds, and the incredibly flexible MultiFilter lets users make their own hybrid filter shapes. Analog-style FM, hard sync, drive, low-boost, and ring modulation provide lots of tone-twisting power.

Emerging in 1978, the MS-20 united a 37-note keyboard with a vertically positioned control panel, and was easily available by those inhibited by expensive and huge furniture-sized synthesizers. With a thick, solid sound, aggressive filters, and patching capabilities that opened up unlimited potential for creating sounds, the MS-20's rich personality enamored countless synth freaks. Using Korg's CMT (Component Modeling Technology) the MS-20EX accurately reproduces the MS-20 at the same time dramatically expanding its patch panel capabilities. Modulate filters with audio-rate oscillators; make audio inputs into control signals; manipulate all of the original knobs with mod sources including added envelopes, LFOs, and realtime controllers. It's a knob twiddlers dream, but even with no patch panel, the MS-20EX 
would make a splash with its one of a kind, aggressive tone—due largely to its signature filters, which are totally different from those in either the AL-1 or the PolysixEX. The Kronos version is now extremely polyphonic.

The Polysix first debuted in 1981, providing six-voice polyphony, program memory, and an impressively competitive price tag. With its self-oscillating four-pole filter, silky analog oscillator and sub-oscillator, plus a deep Chorus/Ensemble effect, the PolysixEX enhances the capabilities of the original in many intuitive ways. The strings and pads that were such an important feature of the Polysix will be indispensable when users need the tones of the early '80s. The classic arpeggiator built into the original Polysix is also featured. Korg added modulation of every parameter on the front panel, for a universe of sounds impossible on the original. It's also extremely well-suited to tactile control via the Kronos' Tone Adjust; with a knob, slider, or switch for almost every one of the original Polysix parameters. As a bonus, it's also capable of extremely high polyphony.

Combine Variable Phase Modulation (VPM), wave-shaping, samples, ring modulation and subtractive synthesis, as well as a modular patch-panel system, and the result is the MOD-7. Incredibly versatile, it offers everything from vintage FM keyboards, bells, and basses (including the capability to load sounds from vintage DX synths) to rhythmic soundscapes and shimmering, epic pads. Vast sample-morphing capabilities, with impressive flexibility and power, allow users to create incredibly rich processing environments: blend multiple stages of filtering, waveshaping, and ring modulation—as well as utilize samples as FM modulators—all patched together however users like.

Based on the physical modeling knowledge Korg cultivated over the course of many years, the struck/plucked-string physical modeling sound engine makes use of cutting-edge technology. The STR-1 starts with highly playable sounds whose tone responds to touch in ways that are hard for a PCM sound engine to recreate. These include acoustic guitar, electric guitar, clavinet, harpsichord, harps, bells, and ethnic instruments. Then the STR-1 goes above and beyond, enabling the creation of sounds that obey physical laws, but which don't exist in real life. Play harmonics on a metal bar "plucked" by a piano or even sing into a guitar string—with the STR-1, all of this is possible. Users can also process samples and live audio input via the physical model—which includes audio feedback from any of the Kronos effects. Some of the Kronos engines peer back in time, this is truly a sound engine of the future, one that enables the synthesizer programmer to build truly unique sounds.

In order to make full use of all 9 sound engines, Korg has called upon respected musicians to lead their sound design team towards their individual ideals. Responding positively, various world-class players contributed their time, energy, and critical ears to help them hone in on making the sound behave the way they hear it. Specific artist signature sounds were tested, and tweaked by people like Jordan Rudess, Russ Ferrante, George Duke, Lyle Mays, Tom Coster, Frank McComb, Jeff Lorber, John Novello, and several other artists known for their genuine love of sound and for their critical, demanding ears.


  • 9 sound engines, each offering a unique sound-creation technology
  • 16-part Combis allow all engines to function together in perfect harmony Dynamic Voice Allocation keeps the polyphony high
  • 73-key keyboard borrows the responsive synth action from the Korg M3-61 (Natural Touch Semi Weighted)
  • Comprehensive interface, based around a new large 8" TFT TouchView display
  • Virtual Memory Technology (VMT), aided by a fast SSD (Solid State Disk) provides high polyphony and massive, ultra-long, and unlooped samples
  • Smooth Sound Transition allows held or sustained notes to keep sounding when changing sounds or modes
  • Set List mode: Organize the Programs, Combis, and Songs you need to perform your set in a single, easy-to-select screen—including performance notes
  • Use up to 16 premium-quality effects at once; individual effects rival dedicated units:
  • 12 Insert effects
  • 2 Master effects
  • 2 Total effects
  • On-board sequencer offers 16 MIDI tracks + 16 audio tracks (24-bit, 48kHz recording quality)
  • Open Sampling System: Instant sampling and resampling from any mode: Program, Combination or Sequencer
  • Sophisticated KARMA technology generates infinitely variable performance-driven phrases, musical effects, and backing tracks to catalyze your creativity
  • Expanded Drum Track for play-along grooves and inspiration

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Tone Generator

  • Synthesis Types: 9
  • SGX-1 Premium Piano (Acoustic Piano)
  • EP-1 MDS Electric Piano (Electric Piano)
  • HD-1 High Definition Synthesizer (PCM Virtual Memory Technology)
  • AL-1 Analog Synthesizer (Analog Modeling)
  • CX-3 Tonewheel Organ (Tonewheel Organ Modeling)
  • STR-1 Plucked String (Physical Modeling)
  • MOD-7 Waveshaping VPM Synthesizer (VPM Synthesis)
  • MS-20EX (CMT Analog Modeling)
  • PolysixEX (CMT Analog Modeling)
  • Maximum Polyphony*1*2:
  • SGX-1: 100 voices*3
  • EP-1: 104 voices
  • HD-1: 140 voices
  • AL-1: 80 voices
  • CX-3: 200 voices
  • STR-1: 40 voices
  • MOD-7: 52 voices
  • MS-20EX: 40 voices
  • PolysixEX: 180 voices
  • *1 Maximum polyphony depends on the kind of synthesis engines and the number of effects being used
  • *2 Kronos dynamically allocates voices to multiple synthesis engines when they are used simultaneously
  • *3 100 dual-stereo notes (It corresponds to 400 voices in the maximum)

Number of Programs/Combinations/Drumkits:

  • 1,664 user memory programs (1510 or more [760 or more HD-1+750 or more EXi] come preloaded)
  • 1,792 user memory combinations (448 or more come preloaded)
  • 152 user memory drumkits (77 or more come preloaded)
  • 256 GM Level2 preset programs+ 9 GM Level2 drum preset programs

Preset PCM:

  • 314MB (ROM 1,505 multisamples, 1388 drum samples)
  • Build-in Expansion PCM Libraries:
  • EXs1 - ROM Expansion
  • EXs2 - Concert Grand Piano
  • EXs3 - Brass & Woodwinds
  • EXs4 - Vintage Keyboards
  • EXs5 - ROM Expansion 2
  • EXs6 - SGX-1 German D Piano
  • EXs7 - SGX-1 Japanese C Piano
  • EXs8 - Rock Ambience Drums
  • EXs9 - Jazz Ambience Drums

Capacity of PCM RAM:

  • Approx. 1GB*4
  • *4 The memory available for RAM samples will change based on the use of Expansion PCM libraries. About 273MB is available when shipped from the factory (when loading the file named "PRELOAD.KSC")

Wave Sequences:

  • 374 user memory, 160 or more preload
  • SGX-1 Program
  • Premium Piano:
  • PCM: EXs6 - SGX-1 German D Piano; EXs7 - SGX-1 Japanese C Piano
  • Piano Type: 32 or more
  • Oscillator Control: Damper Resonance, Damper Noise, Mechanical Noise, Note Release

EP-1 Program

  • MDS Electric Piano:
  • Electric Piano Model Types:
  • 6 (Tine EP I, Tine EP II, Tone EP V, Tine EP DMP, Reed EP200, Reed EP200A)
  • Oscillator Control: Harmonic Sound Level, Attack Noise, Level, Release Noise Level, Attack Brightness, Hammer Width
  • Panel Control: Tine Type: Preamp Volume, Tone (Treble, Bass), Vibrate (On/Off, Intensity, Speed), Amp/Cabinet (On/Off, Drive)*5
  • Reed Type: Preamp Volume, Tone (Treble, Bass), Vibrate (Intensity, Speed), Amp/Cabinet (On/Off, Drive)*5
  • *5 Each electric piano type has own amp/cabinet character.
  • Effect Types: 9 (Small Phase, Orange Phase, Clack Phase, Vintage Chorus, Black Chorus, EP Chorus, Vintage Flanger, Red Comp, VOX Wah)

HD-1 Program

  • Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope
  • Structure: Single: only OSC1, Double: OSC1 and OSC2
  • Double mode lets you layer two completely separate synth voices, each with their own velocity-switched oscillator, dual filter, EGs, LFOs, etc.
  • Two completely separate drumkits
  • Oscillators: VMT (Virtual Memory Technology) supported
  • 8 velocity zones per oscillator, with switching, crossfades and layering
  • Each zone can play mono or stereo Multisamples or Wave Sequences
  • Filters: Two multi-mode filters per voices (low-pass, high-pass, band-pass and band-reject)
  • Four-mode filter routings (single, serial, parallel and 24dB mode)
  • Driver: Per voice non-linear driver and low boost circuit
  • EQ: Three bands, with sweepable mid
  • Modulation: Three envelope generators, two LFOs per voice, common LFO, four key tracking generators, AMS (Alternate Modulation Source), two AMS mixers

EXi Program Common

  • Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope
  • Modulation: Common Step Sequencer, AMS (Alternate Modulation Source), Common LFO, 2 Key Tracking Generators
  • EQ: Three bands, with sweep-able mid

AL-1 Program

  • Oscillators: OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM and Sync
  • Audio Input: Run realtime audio through the synthesis engine
  • Filters: Two multi-mode filter (low-pass, high-pass, band-pass and band-reject) with four types of filter routings (single, serial, parallel and 24dB mode), MultiFilter mode (only Filter-A; modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects)
  • Driver: Per-voice non-linear driver and low boost circuit
  • Modulation: Five Envelope generators, four per-voice LFOs, two AMS Mixers; Per-voice Step Sequencer

CX-3 Program

  • Tonewheel Organ Modeling: Phase-synchronous tonewheels (clean and vintage modes), percussion, key click, wheel brake
  • EX Mode: Four additional, user-specified drawbars, and expanded percussion
  • Internal Effects: Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-band EQ
  • Drawbar Control: Controlled via nine front-panel sliders (via Tone Adjust)
  • Split: Upper, Lower (even in EX mode)
  • Modulation: Two AMS mixers

STR-1 Program

  • Physically Modeled String: Includes physically modeled damping, decay, dispersion, nonlinearity, harmonics, dual pickups, and more
  • String Excitation: Three independent excitation sources can be used simultaneously: Pluck, Noise, and PCM. 16 preset "pluck" types, with modulatable width and randomization.
  • Noise generator with saturation and dedicated lowpass filter
  • PCM Oscillator: Korg's ultra-low-aliasing technology, as introduced in the HD-1; 4 velocity zones per oscillator; Uses any mono ROM, EXs, or RAM multisamples;
  • PCM can either be used as an excitation signal, or layered with the output of the string
  • Excitation Filter: Dedicated 2-pole multimode filter for shaping the string excitation; Filter can be enabled/disabled separately for each excitation source. Low Pass, High Pass, Band Pass, and Band Reject modes
  • Audio Input and Feedback: Run realtime audio through the string, including feedback through effects. Modeled feedback includes modulate-able instrument-to-amp distance and orientation.
  • Filters: Dual multi-mode filters per voice; Single, Serial, Parallel (with split stereo output), and 24dB (4-pole) configurations. Low Pass, High Pass, and Band Reject modes
  • Multi Filter mode (Filter A only): Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects
  • Modulation: 5 Envelopes, 4 per-voice LFOs, 2 Key Track generators, String Tracking generators, 4 AMS Mixers.

MOD-7 Program

  • Waveshaping VPM Synthesizer: Combines Variable Phase Modulation (VPM), waveshaping ring modulation, PCM sample playback, and subtractive synthesis;
  • Able to convert-load SYX files.
  • Oscillators: 6
  • VPM/Waveshaper/Ring Modulation Oscillators: Phase and modulatable pitch per oscillator; 101 Waveshaper tables plus modulatable Drive and Offset; Use as oscillators, or as Waveshapers or Ring Modulators for other signals
  • PCM Oscillator: Korg's ultra-low-aliasing technology, as introduced in the HD-1. 4 velocity zones per oscillator; Uses any mono ROM, EXs, or RAM multisamples;
  • PCM can be used as an FM modulator and/or layered with the VPM Oscillators; Noise generator with saturation and dedicated low pass filter
  • Audio input: Run realtime audio through the VPM Oscillators and filters
  • Filters: Dual multi-mode filters per voice. Parallel and 24dB (4-Pole) configurations; Low Pass, High Pass, Band Pass, and Band Reject modes
  • Multi Filter mode (Filter A only): Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects
  • Patch Panel: Supports both algorithm (78 types) selection and free patching; Three 2-in, 1-out mixers for scaling and merging audio, fully modulatable, with phase inversion. Main 6-input stereo mixer, with modulatable pan and volume, plus phase inversion
  • Modulation: 10 Envelopes, 4 per-voice LFOs, 9 Key Tracking generators, Per-voice Step Sequencer, 4 standard AMS Mixers plus 4 simple AMS Mixers

MS-20EX Program

  • Oscillators: Ultra-low-aliasing oscillators; VCO1, VCO2, Ring Mod, Pink and White Noise Generator
  • Audio Input: Run real-time audio through the synthesis engine and ESP (External Signal Processor)
  • Filters:12dB/octave High Pass and Low Pass self-resonant filters
  • ESP section:24dB/octave Low Cut and High Cut filters, available per voice.
  • Patch Panel: Patchable audio and modulation, at audio rates

Patch Points

  • Keyboard:Keyboard CV Out, Keyboard Trigger Out, VCO1+VCO2 CV In, VCO2 CV In
  • VCO: VCO1+VCO2 External Frequency Control In, VCO1 Out, VCO2 Out
  • VCF: External Signal In, External HP Filter Cutoff Frequency Control In, External LP Filter Cutoff Frequency Control In, HPF Out, LPF In, LPF Out
  • VCO+VCF:Total External Modulation In
  • VCA: External Initial Gain Control In, VCA In
  • EG: EG1 Envelope Signal Normal Out, EG1 Envelope Signal Reverse Out, EG1+EG2 Trigger In, EG1 Trigger In, EG2 Envelope Signal Reverse Out
  • MG: Triangle Out, Rectangle Out
  • Noise Generator: Pink Noise Out, White Noise Out
  • Sample and Hold: Clock Trigger In, Sample Signal In, S/H Out
  • Modulation VCA: Control/Voltage In, Signal In, Signal Out
  • Manual Controller: Control Wheel Out, Momentary Switch
  • ESP: Signal In, AMP Out, BPF In, BPF Out, F-V CV Out, Envelope Out, Trigger Out
  • Others: EXi Audio In, Mixer 1 In, Mixer 1 Out, Mixer 2 In, Mixer 2 Out
  • ESP (External Signal Processor): Use incoming audio as a trigger and/or CV source
  • Modulation: Original DAR and HADSR EGs 1 & 2, original MG (with MIDI sync), Sample-and- Hold, MVCA; 4 additional multi-stage Envelopes, 4 additional per-voice LFOs, and 4 AMS Mixers

PolysixEX Program

  • Oscillators: VCO: Saw, Pulse, PWM; Sub Oscillator: Off, 1 octave below, 2 octaves below
  • Filter: 24dB/octave Low Pass self-resonant filter
  • Effects: Integrated Polysix Chorus, Phase, and Ensemble
  • Arpeggiator: Integrated MIDI-synced arpeggiator, with adjustable Range, Mode, and Latch
  • Modulation:Original ADSR EG and MG (with MIDI sync), 2 additional multi-stage Envelopes, 2 additional per-voice LFOs, and 4 AMS Mixers



  • Number of Timbres: 16 Maximum
  • Keyboard and velocity splits, layers, and crossfades of up to 16 Programs and/or external MIDI devices
  • Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope.


  • System: Assignable stereo/mono samples with 8 velocity zones per oscillator (with crossfade functions)


  • System: Open Sampling System (resampling, In-Track sampling)
  • Bit Depth/Sampling Frequency:
  • 16-bit/48 kHz stereo/mono sampling, maximum 512 MB memory
  • Sample Locations: 4,000 samples/1,000 multisamples (128 indexes per multisample)
  • Ripping: Direct sampling (ripping) from audio CD (CD-DA)
  • Formats: Korg format, AKAI S1000/S3000 data (with advanced Program parameter conversion); SoundFont 2.0, AIFF, and WAVE formats
  • Editing: Time Stretch, Time Slice, Crossfade Loop, and other standard editing features.


  • Insert Effects: 12 Stereo in / stereo out
  • Master Effects: 2 Stereo in / stereo out
  • Total Effects: 2 Stereo in / stereo out
  • Timbre EQ: High, low, and mid band
  • Effect Types: 185
  • Modulation: Dynamic Modulation and Common LFO
  • Effects Control Busses: Two stereo side chains
  • Effect Presets: 783 Maximum 32 per 1 effect (Preset User)


  • KARMA Modules: One module in Program mode, four modules in Combination and Sequencer modes
  • Generated Effects (GE): 2,048 presets, 1,536 Users (96 come Preload)
  • Controllers: On/Off, Latch, Chord, Assign, Module, Control, KARMA Realtime Control Sliders [1] – [8], KARMA Scene [1] – [8], KARMA Switches [1] – [8], KARMA Wave-Sequencing, GE Sub Category, Freeze Randomize, Time Signature Control, Tempo Synchronize, Auto RTC (Real Time Control) setup

Drum Track

  • Drum Track Patterns: 697 preset (common with the preset patterns of the MIDI sequencer)


  • Tracks:16-track MIDI sequencer + 16-track hard disk recorder + master track.
  • Number of Songs: 200 songs
  • Resolution: 1/480
  • Tempo: 40.00 - 300.00 (1/100 BPM resolution)
  • Maximum memory: 400,000 MIDI events or 300,000 audio events
  • MIDI Tracks: 16 tracks plus the master track
  • 697 preset/100 user patterns (per song)
  • 18 preset/16 user template songs,
  • Format: Korg (Kronos, OASYS) format, SMF formats 0 and 1.
  • Audio Tracks: 16-track playback, 4-track simultaneous recording, WAV file format 16bit/24bit. Maximum single-file recording time (mono): 80 minutes
  • Automation: Volume, Pan, EQ, and Send1/2; 5,000 regions (max.), Event Anchors, BPM Adjust
  • RPPR (Realtime Pattern Play and Record): 1 Pattern set per song.


  • Disk Mode: Load, save, utility, audio CD burning, audio CD playback, data filer function (save/load MIDI System Exclusive data), CD-R/RW (UDF format read/write), ISO9660 Level 1. *Need to use with External USB CD Drive, etc.
  • Controllers: Vector joystick, joystick, ribbon controller, switches 1 & 2

Control Surface

  • Control Assign Switches: Assigns the Control Surface to Timber/Track, Audio, External, Realtime Knobs/KARMA, or Tone Adjust
  • Mixer Knobs Switch: Assigns the Mixer Knobs to either Channel Strip or Individual Pan, Reset Control Switch, Solo Switch, Knobs 1-8, Switches 1-8 (Upper Row), Switches 1-8 (Lower Row), Sliders 1-8, Master Slider
  • KARMA Control: On/Off, Latch, Chord Assign, module Control
  • Display: TouchView graphical user interface, 8 inch TFT, SVGA (800x600 dots), adjustable brightness


  • L/MONO, R: 1/4" Balanced; 170 ohms Stereo; 85 ohms Mono (L/MONO Only), Nominal Level: +4.0 dBu, Maximum Level: +16.0 dBu (when load impedance is 600 ohms or greater)
  • Individual 1-4: 1/4" Balanced; 170 ohms Stereo; 85 ohms Mono, Nominal Level: +4.0 dBu, Maximum Level: +16.0 dBu (when load impedance is 600 ohms or greater)
  • Headphones: 1/4" stereo phone jack, output impedance: 33 ohms, Maximum Level: 60+60 mW (when load impedance is 33 ohms)
  • S/PDIF: Optical, 24-bit, IEC60958, EIAJCP-1201, 48 kHz, (the same signals as L/MONO, R)
  • USB-B: 24-bit, 48 kHz, 2 channels (the same signals as L/MONO, R)


  • Audio Inputs 1 and 2: 1/4" Balanced; Input Impedance: 10 kohms, Nominal Level: +4.0 dBu, Maximum Level: +16 dBu,Source Impedance: 600 ohms, S/N: 95 dB (Typical), Dynamic Range: 95 dB (Typical), Crosstalk: 95 dB (at 1 kHz, Typical)
  • S/PDIF: Optical, 24-bit, IEC60958, EIAJCP-1201, 48 kHz
  • USB-B: 24-bit, 48 kHz, 2 channels

Control Inputs

  • Damper pedal (half damper supported), assignable switch, assignable pedal
  • MIDI: In, Out, Thru
  • Interface: Two high-speed USB 2.0 A connectors (for external USB devices)
  • Disk Drives: 30 GB SSD (2.5")
  • Power Consumption: 60W

Other Specifications

  • Dimensions: (W x D x H) 48.94" x 16.18" x 5.71"; 1,243mm x 411mm x 145mm
  • Weight:
  • 44.75lb. / 20.3kg

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