{"id":69507,"date":"2024-08-17T07:26:05","date_gmt":"2024-08-17T05:26:05","guid":{"rendered":"https:\/\/greatsynthesizers.com\/?p=69507"},"modified":"2026-03-06T21:20:14","modified_gmt":"2026-03-06T20:20:14","slug":"rhodes-fender-chroma-polaris-coffee-with-extra-cream","status":"publish","type":"post","link":"https:\/\/greatsynthesizers.com\/en\/review\/rhodes-fender-chroma-polaris-coffee-with-extra-cream\/","title":{"rendered":"Rhodes\/Fender CHROMA Polaris – coffee, extra cream?"},"content":{"rendered":"

The CHROMA Polaris is a remarkable American-Japanese blend of American sound<\/strong> and Japanese hardware and design<\/strong>. Today’s Polaris, the “synthesizer out of the grab bag\u201d, had a completely different status in 1984, the year of its release …<\/p>\n

\"Chroma<\/a><\/p>\n

In 1984, digital was \u201cin\u201d, analog was \u201cout\u201d. 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helped: The voice architecture of VCO-VCF-VCA that had prevailed for many years was considered old-fashioned and outdated, the Polaris sounds appeared \u201cserviceable in a \u2018tired analog\u2019 sort of way\u201d<\/em> (Julian Colbeck<\/a>). 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.<\/p>\n

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.<\/p>\n

\"Chroma<\/a><\/p>\n

Then there was the selling price: At first, the Polaris cost the same as the Yamaha DX7<\/a> (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.<\/p>\n

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<\/strong> with an impressive number of hardware controls<\/strong> and the latest MIDI features<\/strong> (send\/receive CC values etc.). It was one of the rare powerful-sounding<\/em> dual VCO poly analog synthesizers with sliders that made the leap into the modern era in 1984.<\/p>\n

\"Chroma<\/a><\/p>\n

Coffee, no sogar and extra cream?
\nVisual appearances …<\/h2>\n

B<\/span>ritish 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 …<\/p>\n

“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.<\/em><\/p>\n

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?”<\/em><\/p>\n

(Julian Colbeck, Keyfax 2<\/a>, page 112)<\/p><\/blockquote>\n

\"Chroma<\/a><\/p>\n

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.<\/p>\n

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).<\/p>\n

\"Chroma<\/a><\/p>\n

Hardware quality<\/h2>\n

O<\/span>pinions 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).<\/p>\n

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 \u201cquestion marks over quality control.\u201d<\/em><\/p>\n

\"Chroma<\/a><\/p>\n

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 \u201ceveryone’s cup of tea\u201d … back to that later.<\/p>\n

Features<\/h2>\n

T<\/span>he CHROMA Polaris offers …<\/p>\n