Korg Krome Workstation

Korg Krome Workstation

Korg has introduced the new Krome workstation line, available in 61, 73 & 88 key models.

Key Features:

  • KRONOS-derived full length, unlooped piano and drum sounds, plus new electric pianos designed to shine on stage
  • Electric pianos with eight-level velocity switching for unmatched expressive power
  • Clear, intuitive control with Korg’s exclusive 7-inch color TouchView™ display
  • Drums offering separately mixable direct and ambient sounds for studio-grade quality
  • Drum Track plays back realistic, inspiring grooves at the touch of a button
  • Expertly created, in-demand sounds including 640 Programs and 288 Combinations
  • Powerful Effects with 5 Inserts, 2 Master, and 1 Total FX, plus per track/timbre EQ
  • Distinctive aluminum panel design exudes a sense of quality
  • USB connection to your computer, plus an SD Card slot for data storage
  • You can use the KROME editor to edit sounds on your computer
  • Available in 61, 73, and 88 key models.

Details and demos below.

http://www.youtube.com/watch?v=OgF0aARbGeE

The Korg Krome Workstation

KROME borrows the impressive “German D Grand” that was created for the KRONOS flagship. In addition to the rich sound of 88 full-length unlooped stereo samples, damper resonance is also included.

For many keyboardists, the electric piano sound is just as critical as the acoustic piano sound. KROME features three types of electric pianos. Eight velocity levels have been used to ensure faithful response to the player’s expression. In addition, the vintage amps, cabinets, and classic effects so important to these timeless sounds have been realistically modeled, ensuring that everything from the touch to the final sound will be utterly enjoyable.

The built-in drum kits play a major role in song production on any music workstation. KROME contains the same “Jazz Ambience Drums” that can be found on the Korg KRONOS. Taking advantage of the high-capacity PCM memory, these sounds capture a dramatically high level of response and realism. Adjusting the mix balance between the direct sound (a mic placed near the head or cymbal) and the ambient sound (recorded from a distant mic to capture the resonance of the room), allows you to create a rich drum sound that has exactly the balance and character that you want.

In addition to piano, electric piano, and drums, KROME has a plentiful array of sounds to cover a broad range of styles that will meet a wide variety of needs. Stimulate your creativity by selecting any of the 640 Programs or 288 Combinations.

Pressing a single button turns on the Drum Track feature, providing realistic grooves played by professionals using the KROME’s studio-quality drum sounds. Play along or incorporate them into your music production. In addition to more than 600 preset patterns inherited from KRONOS, there’s plenty of space for saving user patterns as well. Drum patterns can be created and used with the sequencer, as well as providing a rhythm guide while you play, or they can be used creatively in your live performances.

In Combination mode or Sequencer mode, two arpeggiators can be running simultaneously. In addition to standard arpeggio patterns, these arpeggiators can generate guitar or bass riffs, drum patterns, or they can even be used as building blocks for sound design, to create pads, synth sounds, and sound effects that include subtle motion. You’re also free to edit any of the patterns to create your own custom originals.

Theeffect section provides up to five Insert effects, two Master effects, and one Total effect. In addition to choruses, flangers, phasers, delays, and reverbs, the 193 effect types include dynamic processing effects such as compressor and limiter, evocative effects like the Grain Shifter and Talking Modulator, as well as amp modeling and speaker simulation effects using Korg’s proprietary “REMS” modeling technology.

KROME has a full complement of the features you’ve come to expect from a Korg workstation, starting with the 16-track sequencer. But there’s much, much more. KROME comes complete with a rich suite of tools to jumpstart your creative urges. There’s the convenient Auto Song Setup function; if inspiration strikes while you’re playing a program or combination, simply press the REC switch to start recording immediately. Each Template Song assigns popular sounds to sequencer tracks through pre-routed effects to match a specific musical genre. Achieve lightning-fast arrangements using Korg’s Cue List, and build an armada of instant-access patterns using the RPPR (Realtime Pattern/Play Recording) feature. Go back and you can make any changes using the convenient piano-roll editing.

KROME 61 and 73 models feature a semi-weighted natural-touch keyboard; the great feel and response are ideal for playing everything from any style of piano, to dynamic organ performance, to pyrotechnic synthesizer solos. KROME 88 is equipped with Korg’s NH (Natural Weighted Hammer Action) keyboard, ensuring that every nuance of your playing dynamics will be expressively reflected when playing sounds such as piano or electric piano.

The dramatic dark colored body provides KROME with an elegantly curved profile. The top control panel is made using two aluminum panels of differing design. The result is a distinctive appearance that projects an unmistakable presence, even on a cluttered stage. In both looks and sound, KROME will make a strong impression on the audience.

KROME’s huge 800 x 480 pixel TouchView Color display can show numerous parameters at once, ensuring great visibility. Simply touch the screen to change sounds or edit parameters. Finger-drag editing is also supported, allowing you to use the on-screen sliders and knobs directly. Numerous functions take advantage of the TouchView interface, such as the piano roll editor, a stopwatch that’s convenient for keeping track of a live performance, and a calculator keypad that is convenient for entering numerical values.

You can connect KROME to your computer via USB to easily transfer MIDI data. You can also use an SD card (commercially available) to manage the KROME’s data files.

The KROME Editor and KROME Plug-In Editor allow you to edit your KROME from your computer while viewing large numbers of parameters simultaneously, or to use KROME in your DAW as if it were a software synthesizer.

The Korg Krome workstation is expected to be available in October. Pricing is TBA.

Korg Krome Video Manual:

Introduction

Program:

Combination:

Sequencer:

Global:

via aymat, Korg

57 thoughts on “Korg Krome Workstation”

    1. “because the world really needed another generic, overpriced workstation keyboard”

      Complaining about the Krome’s price, when the article says the pricing is TBA……

      Priceless!

      1. they don’t have to list the price yet for me to know it will be overpriced. i’m guessing 2500-3000 USD – if it’s under 2000 i’ll eat my hat.

      3. Brace yourself for the time you are going to purchase this big jig! I swear to my family’s lost relatives’ graves that this thing is a slam dunk bargain when you buy it!

        $1,600.00!

  7. I had a feeling it would be something like this. I get why people prefer to work with hardware synths, and hardware drum machines and hardware effects units over software. I don’t get why anyone would want to compose music on a workstation over a DAW though. It genuinely baffles me a bit that there’s still a big market for them in an age where you can buy a good laptop or a tablet for half the price.

    1. In my opinion, this synth is styles to more a run of the mill gigging keyboard… with workstation capability for those who are just a wee bit pressed for cash and can’t keep just adding to their collection. In that, I see no problem with someone continually upgrading their main axe when a better sound source presents itself. Is it for me? not a chance. I like myself more real time tweaking without having to squint my eyes on where to put my fingers. I’ll stick with the M3.

      Bringing up the M3…. I wonder how this key bed compares to the quality of the M3? have they reduced cost by going back to a crappy feeling key bed? One of the main reasons I would not upgrade to the Kronos was that they did not offer that nice feel to the 73 note version (wtf was with that?)

      1. Could someone from Korg please answer this question : is the Krome 73 keybed same or different than M50 keybed , and if different , what other Korg board is it same as ?

  9. The usual little internet lynch mob formed up in the chat area at the Livestream announcement of this keyboard. Howling for analog and missing the point that this is a keyboard instrument aimed at people who play piano and organ in live music situations. I think this will do very well with people in that situation.

    1. … But we have a billion or so workstations that sound like a real piano that are portable. You can get a Yamaha PSR series from the 90s or somethin for $10 on craigslist and it sounds just as realistic.

    2. You’re right about the purpose of the keyboard. As for the “internet lynch mob” though: the problem is that Alesis left a gap in the *synth* workstation market when they discontinued the Andromeda, and Korg is being perceived (correctly or otherwise) as using monotron/monotribe as test marketing to fill at least some of that gap. On the other hand, as enticing as analog it can be (when done right), many analog fans do over-romanticize it in a way that does outstrip its actual usefulness, though. Such is the way of things.

      1. agreed about the over-romanticizing. I’d love one ‘live’ keyboard that had the knob functionality of Dave Smith Prophet 08, with access to a killer set of sampled piano’s, EP’s, strings and organs.

  11. This will be a replacement for their now discontinued M50. Most likely be in the 1100-1300 dollar range (Canadian prices).
    There is very little market for a keyboard like this anymore.

  12. Why isn’t the workstation idea dead? I’m happy with the idea of a keyboard that combines synth and real sounds, but the closest I’ve found that doesn’t add a lame sequencer is the Nord Wave… and it doesn’t overwhelm me with the desire to buy one.

    1. The real question is,Steve….why aren’t you dead yet?WTF do you care,if hardware workstations continue to be in production?If you don’t want one,DON’T F**KING BUY ONE…a fairly simple concept to embrace.

  14. Looks that there is only L and R output and no independent outputs.It means that you can’t route your click to separate output.This is just not good for me,because I need to send click to my drummer.
    Another nonstarter for me.

  16. I was hopIng for a ms2000 or Roland Gaia but analog filter and metal case like the blofeld. Come on korg you are so boring with this over priced Casio crap. I can do more with my Gaia and an iPad I dock config. Plus the iPad is a better interface with all the sweet apps available.

  17. So complaining that this is not a knobby synth is something like being mad at Ford because they announced a new car and you were hoping for a sailboat. They make a knobby synth called Radias. Dave Smith makes several andthehotel new Mopho four voice is in the same price range as this. I think Korg is going for the guy that plays in a band and needs piano, organs and clavs. Bread and butter stuff.

    1. Don’t make yourself looking like an idiot saying that “they make a knobby synth called Radias” — it’s discontinued long ago. Also, korg is originally a synth company, hence complaining at korg for making another piece of overweight plastic junk is rather like “being mad at Ford because they announced a new sailboat and you were hoping for a car,” and not other way round.

  18. It seems that Korg is moving a little too fast. Just a few years ago, they introduced the M3, which was a great workstation. Then the M50, which was simply a stripped-down version of the M3, still packed with lots of goodies, and quite possibly the best budget-oriented workstation Korg has ever made. Then came the Microstation, a budget-oriented, stripped down version of the M50. Then the pricer KRONOS was introduced to jettison the M3, and now the KROME to replace the M50, again probably sold at a higher cost. I just purchased my M50 a year ago and absolutely love it, possibly more than any other Korg product I’ve owned except for the Wavestation, Korg isn’t getting one over on me this time. I’m in no way ready to trade my M50 for a KROME yet.

    1. Studioannur,

      Why do you have so much praise for the M3?Most of the pad sounds are thin and weak,it doesn’t have ample speed and memory to handle the Xpanded sound set(it takes 2 mintues to load everything) and the pianos still lacked realism.
      The M50’s touchscreen was nice,but 256MB of ROM with AWFUL toy pianos for $1100??The key-bed action was flimsy as sh*t.
      The Krome has 3.8GB of ROM and only takes 57 seconds to load,has the best piano and drum sounds on the market in the budget range,has a better keybed,a 7″ full color screen,has seamless PC integration and costs $100 less than the M50.
      Your precious little M50 is nothing but a Casio-like toy,compared to the Krome.

      I’ve previous owner of both the M3 and the M50 and with the exception of the M3’s Radias option,the Krome is overall,a better workstation.

      I was happy to sell both of those keyboards to buy more software for my DAW,because the M3 and M50 were nothing more than beefed up Casios.

      Krome probably has the same synth sound set as the M50,but having PC-software-grade pianos and drums on a budget,makes the Krome the ideal midi controller keyboard.

  19. While I am tired of seeing every demo brag about its bloody EPs, some of you are too busy being elitist about it to accept the main point: these instruments keep appearing because people DO buy them. A piano guy doing casuals will love the easily accessed synth things s/he’ll need on occasion. A “kid” with $1500 to blow will be inspired by the real range of the thing and use its synth abilities without giving a crap about the B-3 emulations. I like Korg’s sounds and GUIs, so I use 2 of their workstations. I cut my sequencing teeth on the 01Wfd; it was a necessary step towards using a serious DAW. Likewise, you can dump THAT material back into the Korg’s sequencer for live shows. Its always fun to have a big showoff piece or 3 based on that. Take on the instruments that suit you personally, certainly, but seeing a successful music company as odious for marketing what sells makes you look like a cross-eyed derp baby. Korg will probably offer an analog MS-22 eventually and half the commenters will crap cookies because it doesn’t have a hard disk. DERP!

  20. I’m already completely pissed off at Korg for the workstation they’ll inevitably release in 2014!!!

    (actually, I’m not…Korg is by far my favorite of the big 3, and anyway,, being pissed off at companies for releasing products you dont happen to want to need is pointless anyhow)

    1. The other Big 3 I believe are Yamaha and Roland. I am overwhelmed by the competition! Against Yamaha’s MOX8, Korg appears to be pushing the envelope! A 7-inch touch screen, nearly twice the in-keyboard simultaneous key note polyphony and just as powerful sounds for $100 USD less? That is one tough competitor! The Yamaha MOX8 has a tempo range from 5 beats/min. to 300 versus the Krome’s 40 bpm – 300 bpm and more storage device space via pen (thumb) drive compared to the Krome’s SD card. Even if the MOX8 has a tiny 240 x 64 pixel LCD monitor display, the two keyboard workstations seem to be knocking each other out!

      At a local music store in my town, I tested a Casio Privia PX-330. Though it has 128-note polyphony, its pathetic little audio speakers are not really up to the stage piano’s potential and sound like scratches and static, especially when you play enough keys on the keyboard simultaneously.

      I am considering buying the Yamaha MOX8 but the Korg Krome sure looks like a threat with its awesome 7-inch touch screen display and 800×480 resolution!

      And you can forget about the Roland Phantom G8!

  21. WHAT DO YOU WANT FOR A 1000 USD/Euros?!? A Kronos like features? Well, pay 3 times more and enjoy it. And for all the spoiled never-to-be-happy un-thankful musicians, just think what was 20-30 years ago, how bad was the quality of samples, how low was the polyphony, how little of the features you had… and tell me, won’t you be thankful that you live in the present era, where you get 1000+ instrument waveforms and 1600 drum waveforms for a grand? Be thankful. Be very thankful.

  22. I understand why church/live band guys might buy this.. But I think there is something to all the negative comments about the radias.

    I think that the current workstation manufacturers are behind the curve when it comes to both consumer expectations and keeping up with the competition. The fact is that workstations no longer provide better sound quality, synth power, or sequencing ability than a DAW running a bunch of plugins. The only thing workstations have going for them are portability, setup time, and user experience.

    I think that KORG/Yamaha/Roland will see it get much worse as products like kontakt, maschine, MPC renaissance, etc. gain in popularity. All of my studio buddies have moved towards the plugins, and most pro guys I know only buy hardware if it does something a DAW or plugin cannot (ie. analog modulars, summing busses, converters), or if the “fun factor” makes the hardware irresistible. Modern workstations actually make the songwriting process slower because eventually, the songs made on the workstation will have to be tracked out to… Wait for it…… : a DAW!!!!!!!

  23. Well guess what, some of us cut our teeth on workstations, and still like hardware. Some of us don’t want to deal with drivers, latency, and troubleshooting whenever we want to create. And workstations fit the bill, especially when you can simply export the audio and/or midi at the end of the day. It’s the same reason that Zoom’s recorders still sell. Tascam DP24 is a new standalone recorder that was recently released because, gasp! People still like hardware. And everybody does not need analog capabilities, deep synth programming and all of the rest. Some of us like to turn on a keyboard, find a great sound. . .and play it! So for me, I see why Korg released it, and believe me, there is a market for it, because I’m one of the people that are going to buy this thing. Most of my songs are piano, bass, drums, guitar and organ (gospel) with some basic synth patches. Since I play bass and drums, this fits the bill. OK, the CX3 is not in there, but I’ll borrow my friend’s Nord rather than pay an extra 1800-2500 for the Kronos.

    1. I surely agree with that, Aaron! I am another hardware geek who just loves tinkering! Workstations are here to stay! I owned a Yamaha PSS-470 that had its own digital synthesizer, a PSS-680 Music Station and since 1999 I had been working with MIDI and by 2009 I re-embraced synths with Oracle’s Audacity software.

      I also have a Yamaha PSR-730 which had an arranger and sequencer but its 3.5-inch floppy disk drive got the boot in today’s market by the SD card and today’s “external hard drives” are now simply USB “thumb” or “pen drives.” After nearly 15 years, it is still running strong but now I have to move up to both an 88-key keyboard and a stand-alone workstation.

      But it is hard to choose between a Yamaha MOX8 and a Korg Krome! Both have their own unique personalities and strengths – and of course their weaknesses. Krome’s tempo speed starts at 40 bpm while the MOX8’s minimum is 5! And the Krome is a real threat to the Yamaha MOX8 in the display department with its 7-inch touch screen with 800 x 480 resolution versus the MOX8’s mere 240 x 64 LCD display! Another threat to the Yamaha MOX8 is the in-keyboard note polyphony: 120 notes vs 64 for the MOX8… wait a minute! I read the manual and found that the Yamaha MOX8’s actual note polyphony is 124 notes.

      The MOX8’s display is so small that you have got to know what you are doing when you tinker around with this stage piano/workstation/synthesizer.

      Both synth/workstation stage pianos are hard to choose! Either offer their very own plusses at an attractive price!

  24. Got my 73 key model from Guitar Center for $999 after a $200 instant rebate. Could have gotten same rebate for the 88 key version which would have made the price $1399

  25. This looks great, but I’m not sure I trust Korg at this point. Those of us who bought the M50 were expecting regular firmware upgrades and more support. From the looks of this demo, Korg could have at least thrown us a bone and given us some of the interface upgrades we see here. It’s tempting, but not sure I want to buy this, sell my M50, and hope that Korg supports it before moving on to the next big thing.

  26. Don’t trust Korg. I did and I crashed and burned. The keybed is not capable of utilizing the 8 velocity layers Korg boasts either you can’t reach the top layer or you change the curve and then you can’t reach the low layers anymore and the whole thing is unplayable. This problem is known from the M3 since 2007 and there’s a 9-page thread at the Korg forums with users complaining about the very same problem on the Kronos. Now they shelled out yet another workstation with that crap and continue to ignore the complaints of aforementioned workstation buyers..

    Also, they are advertising “DAW integration” when there is practically none: The POS editor plug-in is barely bigger than the POS touch screen, can’t be changed in size and what’s the most aggravating thing, is only compatible with yesterday’s 32-bit DAWs. Even the piano garbage is not sounding any better than any average piano plug-in.

    Worst. Company. Ever. Worst. Product. Ever. !!

  27. Since when is a hardware sequencer lame or obligatory? The only reason I’ll buy a keyboard other than a dedicated synth is if it has a sequencer that I can make songs with. I personally don’t do well with the burdens of the software-based DAW concept but I do understand why some may choose that route.

    I cut my workstation teeth on a Casio CTK-630 that had 6 tracks to sequence songs on, many years before software was an accessible and affordable means to make music. Since then I’ve had a Roland XP-50 and 2 Fantoms. I’m obsessed with 80’s and 90’s era videogame music, Prog Rock, and loved the instant, hands on control and tightness that a hardware workstation offered. I’m not looking for the super-ultra-mega-realistic sounds that a VST can buy you where every nuance of every instrument is picked apart by it’s detractor. I’m not trying to make people believe that what they are hearing isn’t a machine. People seem to forget that the keyboard is an INSTRUMENT – digital or not it still makes music. After all that time I genuinely did try some of the software stuff but while it did open my eyes to an obvious approach at composing music, it didn’t feel right at all having been so versed in the hardware scene.

    I am interested in the Krome because I am looking for a new “type” of sound/workstation – The Korg type. I’ve heard of and witnessed the legends such as the Trinity, X3, and Triton but never owned one. I haven’t played the Krome yet but the M50 in the Guitar Center by my work had poor feeling keys compared to the Fantoms. Is this the case with Krome as well?

    I think we are reaching a point where the hardware workstation is being regarded as a need by some, but not all, by the manufacturer, which is still good news for the likes of myself. It’s just a shame that in all of these forums/comment sections, at some point any constructive points relating to what people want to educate themselves about an instrument they are considering is generally blown to bits by unnecessary bickering on both sides of the Software vs. Hardware fence.

    1. Good insight Chad,
      Yeah, I cut my teeth on the 01/Wfd and I have always missed it dearly. I have been software based since 2007 after selling my AMAZING Yamaha Motif ES6 w/mLAN option & AN1x (I really do regret this course of action). I will get MOX6 soon though…recently I got a KILLER deal on the last of stock Korg MicroStation…I am very happy to have a dedicated, immediate workstation synth. Right now I am using it within the Logic environment. Hellova bang for the buck with this synth. My honest advice to you would be this…while I am a Korg fan through and through, you own it to yourself to check out the comparable Yamaha products and relative feature sets to those of Korg’s…particularly in the performance orientated consideration. Compared to my K2500s, the 01/W, and other synths I have had, I must tell you the Yamaha line rips them to shreds.

  28. I play in a classic rock band that does Stones,Skynyrd, Stevie,Jimi,Eric,ZZ,Allmans,etc.I have tried almost every digital piano available.I have owned a Yamaha p-60,p-120,MOX6 and ES module.Also owned a Roland ep-7, and played a new V-piano at Casio music in Milwaukee.Also owned a Nord electro 3, Korg M50.I use a Hammond XK3 or a Numa organ for the organ parts.The Yamaha pianos have a great sound, but I found them to be kinda bulky and a little heavy for gigging.The Nord had a great organ, EP’s and clavinet, but the acoustic pianos did not impress me at all.In fact ,they were lifeless and dull.The V-piano had good features, great EP’s and cool organ sounds.The pianos were not bad, but when I plugged in the sustain pedal, the string resonance was kinda funky-sorta 90 ish.Would be good for a stage piano.Casio was OK too, but not spectacular.Now I use a Kurzweil sp-4 and again, not much string resonance,but great EP,s.I was very impressed by the Krome pianos.They blew away my M50 and all the others.GREAT string resonance, very lifelike.I still think the Yamaha p-105 has the best overall sound, but it only does piano sounds.I am very impressed with the Korg and for now , it is the one to have.I am using this as only a stage piano,so I cant really comment on the workstation aspect of the Krome.

  29. The arpeggiators on the Krome (apparently there are two that can run simultaneously ), are they factory presets ? can a person design an arp from scratch ? and store it as a Song ,maybe , and then play over it w another arp live .? Thinking of “Baba O’Riley .

  30. Similar to keysofc, I bought my 61-key Krome from Guitar Center for $799.99 due to a 20% off any one item coupon e-mailed to me; so, I saved $200 as well. It’s a hell of a keyboard, I think it bests the MOX6, and I still can’t believe its price, weight, and features at this price point.

    The strange thing about keybeds is that, like anything, there will never be a consensus. A guy posted at YouTube video just complaining about the Krome’s keys, but I find them to be perfectly fine. The Krome is an absolute pleasure to play and, for me, this necessitates that I don’t have to think about its keybed or poor feel/touch, or programs’ limited dynamic range, all to which I am very sensitive.

    Like Chad and others, I still like and appreciate workstations for their utility and function. I also like Korg: I’ve owned an M1, X50, and R3 in the past, this my 4th Korg and 2nd workstation (I currently own a Yamaha Motif ES6 with 2 expansion boards).

  32. the truth is a workstation always produces better results.. it’s more human.. i have heard the same producers on workstations and on computer… PCs make the music boooooring 9/10.

    Thank about electronic music.. it has SUCKED since hardware sequencers gave way to MACs.

    Rap?? It’s not even rap anymore.

  33. Just got my Krome 61 for £599. I think it is awesome. Great for playing around with ideas and very easy to use. But most of all, the sounds are fantastic. Amazed how much of a workstation you can get for this kind of money.

  35. My 3.14 cents on thread and, part two, request for feedback on my first home studio setup.

    3.14 cents – totally get the Krome/MOX market space – I’m in that market niche that includes formally-trained (classical, jazz, latin) keyboard players that gig and compose and are constrained by a budget. I love the choices that allow me to leverage what I know, stretch the braincells with new ways to creatively explore composition, work with trio to bake into performance sets then perform. Back in the “dark ages”, gigged with Fender Rhodes and Hammond B3 ( trio, quartet) – looking forward to developing a whole new workflow with Krome keyboard, control surfaces, DAW, soft synths; first step, enrolling in NYC Dubspot online class for Ableton Live..
    .
    Part two: Will appreciate opinion – even from DAWinists 🙂 – on how I’m spending my 5000 home studio budget.

    1200 Korg Krome 73 and Gig bag
    1500 Lenovo Thinkpad T530 (Core i7, nvida quatro, 8GB, 16GB SSD, two 500G 7200 rpm)
    200 Thinkpad Series 3 Docking Station (have all the monitors I need)
    200 NI Komplete Audio 6 Interface (4 in, 2 out, nice software bundle, good for gigs)
    600 Ableton EDM Bundle (APC20 Controller, LIve 9 DAW)
    500 NI Komplete 9
    600 NI Maschine

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