Either way, it’s hard to imagine how one uses the auto accompaniment features beyond idea exploration. Others sound bleeding-edge contemporary - instant party starters with dancefloor-ready drums etc. Some of the Combis sound a little dated (probably intentionally), like a crazy wave sequence from my ’90s Wavestation SR.

They will trigger your creative juices without even touching your computer. The Combis (which can combine as many as 16 Program sounds) are heavy on keyboard splits, big layers, double arpeggiations and drum accompaniments. Krome follows the time-tested Korg MO of supplying Program and Combi sounds. Once awake you can begin to explore the 700-odd sounds - all sonic bases are more than adequately covered. If it becomes separated from the synth on the way to a gig then you’re kinda screwed. Krome, unhappily, uses a ‘lump in the lead’ power supply. I’m a Gadget fan, so I was pleased to hear the Gadget Geeks were the ‘insane’ kids gaining control of the Krome EX ‘asylum’. Krome EX also offers some additional up-to-the-minute sounds, many contributed by the Korg Gadget team. This is a semi-weighted keyboard so the EX won’t find piano perfectionists jumping onto the deck of SS Krome, but it’s currently a welcome secret weapon. The new grand piano is grand and the new upright is righteous. Krome EX is an upgrade option for would-be Krome klients.įor an extra $500 (or so) you’ll score a selection of superior piano samples. Otherwise, Krome is housed in an unspectacular lightweight chassis with a synth keybed that will please most people most of the time. The seven-inch touchscreen is an excellent focus of any programming - logical and legible. Krome is a spectacularly big seller - it’s priced right, combining a great array of sounds, with just enough control and features.

Korg wavestation ex review