Rhodes/Fender CHROMA Polaris – coffee, extra cream?

The CHROMA Polaris is a remarkable American-Japanese blend of American sound and Japanese hardware and design. Today’s Polaris, the “synthesizer out of the grab bag”, had a completely different status in 1984, the year of its release …

In 1984, digital was “in”, analog was “out”. Neither membrane switches, touch dynamics, MIDI, sequencer nor the latest design concepts helped: The voice architecture of VCO-VCF-VCA that had prevailed for many years was considered old-fashioned and outdated, the Polaris sounds appeared “serviceable in a ‘tired analog’ sort of way” (Julian Colbeck). And apart from the raising popularity of digital synthesizers, the competitive situation in the remaining analog sector was tough. This was mainly due to cheaper and more popular instruments from Roland and Korg.

The Polaris had a hard time in more ways than one. Shortly before production started, all manufacturing was moved from the USA to Japan. This resulted in a six-month production delay, a considerable timeframe when it came to releasing a new synth. And just before production began in September 1984, the parent group CBS decided to sell Fender, leading to a reduction in funding for necessary Polaris promotion and services.

Then there was the selling price: At first, the Polaris cost the same as the Yamaha DX7 (USD 1995), complicating the situation when it was launched. Although the instrument was ultimately not a flop – the sales figures are said to have been higher than those of the, admittedly twice as expensive, Rhodes CHROMA, of which a total of around 1500 were produced (with CHROMA Expander) – its success was so modest that Fender decided to close down its keyboard department in 1986.

From today’s perspective, however, we praise those at CBS / Rhodes / Fender, who, after the Rhodes CHROMA, gave again a go-ahead and brought the CHROMA Polaris to life. This synthesizer combines the good old vintage sound with an impressive number of hardware controls and the latest MIDI features (send/receive CC values etc.). It was one of the rare powerful-sounding dual VCO poly analog synthesizers with sliders that made the leap into the modern era in 1984.

Coffee, no sogar and extra cream?
Visual appearances …

British pro-keyboardist and journalist Julian Colbeck well summed up the appearance of the Polaris in a test report in 1986. The exterior of the synthesizer reminded him of a vending machine in the canteen …

“The Polaris is totally at odds with the mid-eighties ‘sleek and subdued’ look, perfected by the Japanese. With the program select buttons and the many management controls represetend by a host of pressure-sensitive pads (in varying shades of designer blue), the Polaris has all the hi-tech pazazz of a canteen drink-dispenser.

Up to 132 programs can be stored. These are recalled using letters and numbers, from A-K and 1-12. B9? Is this the helicopter patch or coffee, no sugar and extra cream?”

(Julian Colbeck, Keyfax 2, page 112)

Apart from such humorous associations, the exterior of the synthesizer is as follows: At 99.5 x 37.5 x 11.5 cm (L x W x H), Polaris weighs in at an impressive 19 (!) kilograms. Equally impressive is its power consumption of 100 Watts! Elegantly curved wooden side panels in black frame a solid chassis, which is equipped with membrane switches and generous faders.

Next to the 61-note keyboard with velocity sensitivity, there are two levers (benders) responsible for MOD and PITCH. In addition to the audio outputs (headphones, LOW and HIGH output), there are various sync, tape and controller sockets on the back, as well as the special CHROMA interface and MIDI IN and MIDI OUT (switchable as THRU).

Hardware quality

Opinions differ on the quality of the Polaris. Having had it in our studio for more than 20 years, it is, in our view, one of the finest poly analog synthesizers ever made. Aside from its precise crafting, the Polaris is a tactile sensation and a feast for the eyes. The membrane buttons with LEDs are spacey-modern, the masculine faders are a delight, and its keyboard is nuancably playable (ok, almost too so, to be honest).

Service – what has had to be done so far? The power supply unit required a recap, the membrane buttons – the problem area of all Polaris models – had to be replaced after several decades (there are now replacements from the USA) and the VCAs had to undergo a multiple calibration process (enabling the envelopes to fade out completely). Apart from that: No complaints. What a noble and wonderfully crafted instrument! Peter Forrest, however, doesn’t see it quite so positively. In his article on the Polaris he raised “question marks over quality control.”

Conclusion: We’ve had good experience with Polaris hardware, including service costs, but this does not have to be the rule. Actually, the Polaris is a very special instrument, and its many facets may not be “everyone’s cup of tea” … back to that later.

Features

The CHROMA Polaris offers …

• 6 voices, each with:
• 2 VCOs (6x CEM 3374 chip)
• VCF and VCA (6x CEM 3372 chip)
• ADSDR envelope (software) for the VCF
• ADR envelope (software) for the VCA
• LFO (software) … a total of 6 LFOs (!), CV-controllable
• Digital noise (MM5837 Noise Generator Chip)

• Pulse width modulation – works for both pulse and sawtooth (!)
• Special transpose feature for the two oscillators
• Oscillator synchronization
• Ring modulator (!)
• Split sounds (LINK UPPER / LOWER)
• Layer sounds (LINK UNISON)
• Dynamic voice assignment

• Polyphonic glide (can be activated via pedal)
• Pitch, filter frequency and volume controllable via CV
• MOD and PITCH Lever programmable per sound
• Selective pitch bend feature for “pedal steel guitar” effects
• 132 sounds and up to 12 sequences in memory
• Touch dynamics for VCF and VCA (on/off only)
• Extensive MIDI functions

Plus points

In addition to the excellent hardware already mentioned, the sound possibilities and the special sound character would speak in favor of the Polaris. Its strengths in detail:

Hardware

At the risk of repeating ourselves it must be stated that hardly any synthesizer offers such high-quality finish. If you don’t own a Polaris or Polaris II yourself, maybe you can find one with few previous owners and little stage use. That will do nicely to verify the above. It may not be easy to find a 1A specimen in 2024, but it is certainly possible.

Software

Software is a double-edged sword in an analog synthesizer. The Polaris envelopes are definitely “ok”, but with a few extra peculiarities. If you set the VCF envelope controls to zero, there’s no sound at all. However, a minimal increase in the attack produces the jagged “zap” which, in combination with the filter’s high resonance values, yields percussive ecstasy. And if you set Sustain, Decay and Release (in both envelopes) to maximum, you get HOLD.

Admittedly, hardware envelopes would have been an even more elegant solution, but in terms of LFOs, the software is once again a real blessing. Each voice (!) has its own LFO. What is possible here in terms of sound technology can be heard in many variations in the attached sound examples. Only a few synthesizers – with the exception of the Rhodes CHROMA – can offer such a wealth of simultaneous modulations.

In theory, this wealth of simultaneous modulations is also possible with a Prophet 5, Prophet T8, Memorymoog and other synthesizers, but only under the condition that one of the main oscillators is switched to LOW mode, thus sacrificing it for the modulation effects in question. With the Polaris, both VCOs per voice are retained.

Then there’s MIDI. One of the highlights that puts the Polaris on a par with many modern analog synthesizers is the complete control of all parameters via MIDI. The difference being that the bombastic Polaris sound and powerful dynamics fall into a vintage category not usually available in modern analog synths. Which brings us to the …

Sound

… of the Polaris. Keywords are: massive, penetrating, aggressive, dynamic, but – depending on the settings – also surprisingly lyrical. Not to forget experimental. The Polaris sound may bring back memories of the Prophet-5 or of the Memorymoog. The analog character is in the foreground, but an essential side of the instrument is also sharp sounds with a digital flair. In fact, it is this analog/digital mix that clearly sets the Polaris apart from other vintage poly analog synths (excluding the Rhodes CHROMA, of course).

What sound qualities could you be looking for, what reasons could you have for buying the CHROMA Polaris? Our assessment:

The oscillator synchronization sounds (sorry for the expression) divine. Many poly synthesizers are capable of Osc-Sync, but Osc-Sync on the Polaris sounds particularly musical. This as compared to the Moog Prodigy, which in our opinion produces the most beautiful sync sounds among the monophonic synthesizers. In the polyphonic synthesizer category, the award goes to the Polaris.

The ring modulation – in itself a rarity with polysynths – is no less impressive. A significant part of the “effective” ring mod sounds has to do with the special TRANSPOSE system of the oscillators. Attentive readers have long since noticed that there are no octave switches on the Polaris. Setting the basic tuning is in fact much easier:

Press TRANSPOSE and any key on the keyboard – voilà: This is now the fundamental of the oscillator in question. It’s even more efficient: If you activate both TRANSPOSE functions and press two keys on the keyboard one after the other, the fundamental tuning of both VCOs has been changed. Concrete example when using the ring modulator: activate TRANSPOSE twice, press the lowest C and the highest B – maximum inharmonic distance between the oscillators – and you have the perfect ring mod sound.

The filter sound is another Polaris speciality. Although common CEM chips are used, the sonic result is more than unusual. The higher resonance values, in particular, produce a rough, unclean to disturbing distortion (although the rough filter sound may be annoying to some people). To us, it has a particular charm that sets the Polaris apart from many other poly analog synths (whether they have CEM-based VCFs or not). The result is unusual, tantalizing, far from the sound of a (boring) POP synthesizer.

And: The Polaris is characterized by an exceptionally wide dynamic range. Velocity (here TOUCH) makes this possible.

TOUCH, which can be activated for both the VCF and VCA envelopes, can only be switched on or off, but with on, the result is extremely convincing. Pressure-dependent filter modulation, for example, can produce lively analog sounds of the finest order.

Conclusion … among the many special sound features, these remain Polaris highlights: Osc synchronization, ring modulation, filter sound and wide dynamic range.

A multi dedicated ASSIGNABLE CONTROL area completes the picture. Its aspects affect the sound as well as the performance and are a good example of a well thought-out synthesizer concept. The keyboard, for example, can be moved up an octave by pressing the pedal, and, providing you press that pedal precisely, you then have 6 octaves of playing range at your disposal (without audible switching).

ASSIGNABLE CONTROL means ONE SINGLE controller for 14 functions! Had all of those parameters been included, each with its own fader, the Polaris would have been far too elaborate and far too expensive. The ASSIGNABLE CONTROL section was the perfect way to retain the functions and assure their easy accessibility.

Debatable features

Some special features typical for synthesizers of the 80s may need a little getting used to. Let’s keep it short …

Panel graphics: Yes, they were intended to aid the user – those thick and thin lines in the fader area. They indicate whether the respective fader is unipolar (increasing value in one direction) or bipolar (values in both directions, center position is zero). A good idea in itself, but somewhat confusing to the eye. The colors – bright blue or even brighter blue – also have special significance.

Parameter resolution: It’s a child of the 80s – the digital parameter screening. This has been solved well: Many Polaris values range from 0 to 127 or from -64 to +63 … but the filter resonance is divided into a modest 8 steps (0 to 7), so that changes in sound are clearly audible. However, this probably results from the CEM 3372 chip, which does not provide for a higher resonance resolution. A bit of a shame, as moving the resonance fader results in huge jumps in sound.

Main Panel functions versus Assignable Controls: This all boils down to the division of functions on the panel. To be breef, dodging back and forth while programming requires some practice. Take the oscillators, for example: While the octave settings (which in fact don’t exist) are set via TRANSPOSE on the Main Panel, you have to move to the right to the Assignable Controls for de-tuning (beats) and VCO modulation via LFO or ENV. It’s all there, you just have to find it. Result: Not bad, but needs some getting used to.

No volume control of the VCOs: The oscillators can only be switched on or off – individual mixing is not possible.

Digital noise: Yepp, the “universally appreciated” MM5837 noise generator (found in the Prophet-5 or the Memorymoog) is also part of the Polaris. Noise with a loop effect – obviously in fashion at the beginning of the 80s, but not particularly classy in terms of sound today.

Only ONE audio output at a time: The flexible Polaris sound design is wonderful – single mode, splits and layers. But as with the Roland Jupiter-6, you may miss separate audio outs. Admittedly, back in 1984 such additional expense in the sound architecture may have been a critical cost factor, meaning it wouldn’t be fair today to consider the Polaris mono outs a detriment.

But even when accepting that lack of stereo outs, a user wish still remains. It would be marvellous to be able to use the HIGH and LOW OUTPUT (and HEADPHONES) simultaneously …

… for looping in external effects parallel to the dry audio signal (as an example). Or for pseudo-stereo sound impressions with varying left-right mixing settings (as another example) etc.

Which, however, is not possible. According to the user manual:

“NOTE: You can use one or the other of the outputs, but not both. If you plug cords into both jacks only the HIGH output will work. [ … ] A headphone jack is also provided; it can be used as an audio output as well, although it should not be used at the same time as the LOW or HIGH outputs.”

CHROMA Polaris Owner’s Manual, page 2

What a pity. We would have appreciated at least an extra XLR output in addition to the 6.3 mm HIGH / LOW output, as found on the Roland Jupiter-6 or Memorymoog.

MOD and PITCH levers: The levers are perfectly adequate for us. They work precisely and can be programmed individually for each sound (as mentioned before). However, being rather small, their control range is short, making them a little difficult to operate. And they won’t allow for any dramatic visual performance by the keyboardist on stage …

Hidden functions, secondary functions: There are a considerable number of hidden functions and secondary elements only accessible via LOWER FUNCTION or UPPER FUNCTION. Some of the extra options are labeled on the panel, others can only be found in the user manual. Thus, operating the Polaris can be a bit complicated from time to time.

One example out of many: To switch MIDI OUT/THRU to THRU, you have to deactivate the MIDI output by pressing LOWER FUNCTION > B (Interface) > 10-12.

Let’s leave the debatable features (all of which are justifiable and none of which detract from the value of the instrument) behind us and turn to a comparison between the CHROMA Polaris and the Rhodes CHROMA.

Little brother of the Rhodes CHROMA?

Designed as the CHROMA’s “little brother” and traded as such, the Polaris, from today’s perspective, might have to contend with a certain hereditary burden. True, in 1984 it cost only half the price of the 1983 Rhodes CHROMA – that unsurpassed legend with its 16 channel modes, versatile sounds and excellent wooden keyboard. But apart from its lower price, the Polaris was neither particularly small, nor a conceptual offshoot of the CHROMA. It was a completely independent instrument.

Not only was it independent, the Polaris also had clear advantages: Lots of panel controls (making sound programming quick and fun), a significantly reduced sound architecture (making studio life easier), technical reliability (provided services are done now and then and, above all, the broken membrane panels have been replaced once), 132 sounds (instead of 50 on the CHROMA!), full MIDI control of all parameters (send and receive) and much, much more.

Again, this is not about playing off the CHROMA against the Polaris, but rather about emphasizing the clear independence of the Polaris. Be that as it may, synthesizer historians are free to argue about whether the ARP/Rhodes CHROMA (Model 2100) or its successor CHROMA Polaris (Model 2120) was de facto the very last ARP synthesizer.

Polaris II, second-hand market

Yes, it actually exists, the Polaris II. Launched in 1985, the Polaris II was only slightly different from the original Polaris with an additional info table (printed on the top of the right-hand panel) and slightly varying logo colors. Since the original Polaris was such an excellent synthesizer (not lacking much above and beyond stereo outputs), Polaris II may be considered equally desirable.

CHROMA Polaris and CHROMA Polaris II can be regularly found on the second-hand market, be it in Germany, Italy, France, England, Japan … and especially in the USA.

Anyone looking for a Polaris / Polaris II should be patient, as well-preserved examples are rare (that’s the bad news). Ok, its rarity may not be surprising. But what surprises, is the consistently moderate asking price today (that’s the good news). The Polaris / Polaris II – that outstanding poly analog synthesizer with VCOs, fabulous MIDI features and excellent build quality – is usually on offer for 2,000 to 4,000 USD/Euros.

This is on a par with a Roland Juno-60 with MIDI, and only half the price of a Roland Jupiter-6, which – in our personal opinion – has nowhere near the power and liveliness of a Polaris (not to mention the lack of a velocity keyboard and inadequate MIDI options). The screenshots show two current offers from the US. On the one hand, a rather inexpensive Polaris (private seller, unit in medium condition), on the other a significantly more expensive Polaris II (dealer price, unit in very good condition).

All in all

If you have read this far, our unreserved recommendation here won’t surprise you. Since the Polaris not only has its own charm, but also offers significantly more sound possibilities and technical options than other polyphonic synthesizers from that time, it can be an incredible enrichment to your studio. The recommendation is also aimed at Rhodes CHROMA owners, who, with the addition of the Polaris, get not a slimmed-down version of their grandiose CHROMA for their money, but an independent synthesizer with no less outstanding sonic qualities.

As long as the second-hand market price is still humane, resourceful synthesizer enthusiasts would do well not to let too many opportunities to acquire a CHROMA Polaris / Polaris II pass them by. It’s now or never!

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Finally, we would like to mention Paul DeRocco. He joined CBS after ARP bankruptcy in 1981, together with a team of technicians around Philip Dodds (who completed the Rhodes CHROMA and brought it to production maturity). A short time later, DeRocco, who was chief developer of the CHROMA, also became project manager of the CHROMA Polaris.

As of 2024, Paul DeRocco is still connected to “his” synthesizer. The new membrane foils – which definitely have to be replaced on an original Polaris, as they are the instrument’s central weak point – are the result of his initiative. They may be had on eBay at a fair price and – get this – with a (quasi) lifetime warranty.

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40+ minutes of audio files are attached. The instrument’s American sound is immediately recognizable: Evocations of the Prophet-5 and Memorymoog. In addition to its undisputed “analog potency”, the Polaris is distinguished by its digital-sounding, experimental and lyrical facets.

With two exceptions on the files (Korg MiniPops 120, Elka Synthex), only the CHROMA Polaris can be heard. Processing of several tracks in Audacity allowed, next to higher polyphony, the shifting of sounds in panorama in order to make the Polaris – if only virtually – stereophonic.