The original KORG CX-3 combo organ went on sale in 1980. Loved by musicians around the world, this classic organ reappeared in 2000 as a new product with the same name, but using the latest technology of the time to faithfully model the tonewheel organ sound.

In KRONOS X, the CX-3 engine precisely models this classic tonewheel instrument. Proprietary KORG technology has been used to perfectly reproduce the vacuum tube amp, and effects such as Vibrato/Chorus and the “must-have” rotary speaker. Even the instability, fold-back, leakage, and noise of the tonewheels have been obsessively analyzed and recreated. Take full advantage of KORG’s exclusive EX mode and switch from 9 to 18 drawbars (13 footages plus 5 to define the percussion) and generate even richer and more detailed sounds. The organ sounds heard in legendary performances – some recreated here by the original artists – are now yours for the playing.

Go ahead and experience these classic organ sounds, reborn for the present day.

We named the HD-1“High Definition” because of its superior sound, starting with KORG’s proprietary low-aliasing sample playback oscillators, full‐bandwidth multimode resonant filters, and extraordinarily fast & smooth envelopes and LFOs. The HD-1 can access a larger sample set – gigabytes in size – than could be normally stored using internal memory.
The HD-1 covers all of the essential sounds in exquisite detail, from orchestral to classic rock to hip-hop, all instantly available. The extensive array of samples provided by KRONOS X is unparalleled by previous hardware synthesizers or samplers, and is a superb fit for film, video and sound effect work.

Wave Sequencing
First introduced on the KORG WAVESTATION, and used here as part of the HD-1, Wave Sequences play a series of samples over time, creating distinctive rhythmic timbres or smooth, complex evolving sounds. Additionally, step-sequencer modulation outputs allow Wave Sequences to control any modulate-able Program parameter.

Ambient Drums
The HD-1 sound engine also includes our "Ambient Drums." Take advantage of this rich sample content to create incredibly realistic drum parts. The Ambient Drums feature two kits. Each provides three different mic'ing positions, capturing the whole kit, (with the snare on and off), plus the individual hits. The HD-1 voice architecture allows the custom blending of the drum's direct sound and ambient sound layer, adding a finished quality to the track.

Debuting in 1978, the MS-20 unified a 37-note keyboard with a vertically oriented control panel, and was easily obtainable by those smitten by expensive and gigantic furniture-sized synthesizers.
With a thick and solid sound, aggressive filters, and patching that opened up limitless potential for creating sounds, the MS-20's rich personality captivated countless synth freaks. Using KORG’s CMT (Component Modeling Technology) the MS-20EX faithfully reproduces the MS-20 while dramatically expanding its patch panel functionality. Modulate filters with audio-rate oscillators; turn audio inputs into control signals; control all of the original knobs with mod sources including additional envelopes, LFOs, and real‐time controllers. It’s a tweaker’s dream, but even without the patch panel, the MS-20EX would make waves with its unique, aggressive tone—due in large part to its signature filters, which are completely different from those in either the AL-1 or the PolysixEX. And of course the KRONOS X version is now majorly polyphonic.

The Polysix first appeared in 1981, offering six-voice polyphony, program memory, and a surprisingly competitive price tag.
With its self-oscillating four-pole filter, smooth analog oscillator and sub-oscillator, plus a lush Chorus/Ensemble effect, the PolysixEX extends the abilities of the original in many creative ways. The strings and pads that were such a major feature of the Polysix will be invaluable when you need the sounds of the early '80s. The classic arpeggiator built into the original Polysix is also provided. We’ve added modulation of every control on the front panel, for a world of sounds impossible on the original. It’s also very well-suited to hands-on control via the KRONOS X’ Tone Adjust; with a knob, slider, or switch for almost all of the original Polysix controls. As a bonus, it’s also capable of extremely high polyphony.

Feature-packed, the AL-1 is the same premium analog modeling sound engine that was first featured on the KORG OASYS, the Open Architecture Synthesis Studio back in 2005.
Its patented ultra‐low‐aliasing oscillators (using completely different technology than the HD‐1) recreate all the power and glory of true analog synthesis— without the artifacts that can plague lesser instruments. Morphing waveforms allow you to change the oscillator shapes in real‐time. Resonance modeling lets you choose between classic filter sounds, and the extraordinarily flexible MultiFilter lets you create your own hybrid filter shapes. Hard sync, analog‐style FM, drive, low‐boost, and ring modulation offer plenty of tone-twisting power.

Combine Variable Phase Modulation (VPM), wave-shaping, ring modulation, samples, and subtractive synthesis, plus a modular patch‐panel system, and you have the MOD-7. Exceptionally versatile, it offers everything from classic FM keyboards, bells and basses (including the ability to import sounds from vintage DX synths) to rhythmic soundscapes and sparkling, epic pads. “Vast” sample‐mangling capabilities, with incredible flexibility and power, let you create intensely rich processing environments: combine multiple stages of filtering, waveshaping, and ring modulation – even use samples as FM modulators – all patched together however you like.

Based on the physical modeling know-how which KORG has developed over the course of many years, this struck/plucked-string physical modeling sound engine takes advantage of cutting-edge technology. The STR-1 begins with highly playable sounds whose tone responds to your touch in ways that are difficult for a PCM sound engine to replicate. These include acoustic guitar, electric guitar, harpsichord, clavinet, harps, bells, and ethnic instruments. Then the STR-1 goes beyond, allowing the creation of sounds that obey physical laws, but that don’t exist in reality. Play harmonics on a metal bar “plucked” by a piano or sing into a guitar string; with the STR-1, it’s all possible. You can also process samples and live audio input through the physical model—including audio feedback from any of the KRONOS X effects!

While some of the KRONOS X engines look back in time, this is a sound engine of the future, one that allows the synthesizer programmer to construct truly new sounds.