Technically, MOST of the samples are in the Kronos that were in many of the previous synths. I've found a few missing when converting patches but some of the multi-samples were crap and are not worth carrying over. For example, during the DSS-1 era, your multi-samples were stored on a floppy disk, and not a high density floppy disk. A 720k floppy disk. When you listen to the samples they used back then TODAY, you realize how crappy they are by today's standards. But in some cases, some of the raw waveforms (like from the DW-8000's) SHOULD have been brought over. In most cases, they weren't. So short answer, the waveforms worth keeping were brought over. The rest weren't. Most of the sounds from the previous synths don't hold a candle to the Kronos' patches. Why convert them?andyc69uk wrote:... Yes, what a gaff to not be able to import from Triton or M3 (or any other legacy products). Again, I am sure it is just a case of writing a program that will do the conversion. In some cases you would need to include a different multi-sample but hey, I have noticed that the Kronos includes many of the same multi-samples from the afformentioned so many patches could, in theory be replicated. Much as I like Korg, I can't help but think that they have not invested nearly enough themselves in the Kronos. It could be the most successful, brilliant product ever but fails for want of time and love from it's creators. And don't get me started on the naff, placky data entry wheel....!
In my opinion, if Korg wanted to make me giddy with excitement on adding something to the Kronos, it would be to bring over features from the previous synths that are ironically absent from the Kronos. For example:
1. The DW-8000 programmable arpeggiator. 64 notes in any order, being able to lay them down live and have them repeat was a cool feature.
2. A FREAKING TRUE ARPEGGIATOR (a.k.a. ability to create simple KARMA patters from the keyboard). I bought an M3 and an M50 at the same time. M3 for gigging, M50 for practicing. I sold the M3 and had to gig the M50 because KARMA simply can't work as a proper arp without buying additional software. Not practical when you need to create something on the fly, away from the house. And yes, it happens more than you would think. If Korg would give us the ability to create arps using Karma (which it can easily do), that would be great. Until then, I'm gigging my M50 instead of the Kronos. How sad.
3. A true Vocoder. There's a reason the Korg DVP-1 is STILL bringing insane prices. I will not sell mine for anything. While the Kronos has a great vocoder EFFECT, it isn't a true vocoder and can't do cool stuff like Pitch Shift. Come on Korg, give us at LEAST Pitch Shift.
4. PolySix Chord Function. One of the coolest features of the PolySix was mysteriously left out. NO idea why. Now I wish I'd have kept my PolySix (and my DW-8000's)
5. Draw a Waveform with the joystick from the DSS-1: Kinda useless as a main feature but pretty cool as a bonus and you could make some really cool, dirty sounds with it. (Should have kept my DSS-1 as well).
The KRONOS is an amazing workstation and nothing on the market competes. They gave us all of the features than the masses would want but left out (in my personal opinion) some of the cool features the masses would have learned to love. The above is a short list off the top of my head from the gear I sold when I ordered my Kronos.
