io, perplesso

It's heavy, MIDI implementation is not that clever, but the capacitive contact technique is fabulous, like the polyphonic aftertouch. It's the definitive master for pianists. My one is Japan made, so its mechanics is the Suzuki build, known as better than the US one. When purchased I wrote to Hal Chamberlin, that in a few hours sent me its latest firmware, upgrade instructions and compliments for keeping alive his "creature"; very very nice!

The Rhodes Chroma is a wonderful piece of hardware; it comprises full analog audio generation and path (XR4151 VCOs, Curtis filters and VCAs) and a clever digital control part. The instrument could be virtually patched in 16 different ways, like as with a modular synth; the 16 voices could be arranged as 16x1VCO, 8x2VCO, unison, arpeggio modes. Ring modulation and sync are present. VCFs could work either as 2-pole or 4-pole, LPF or HPF. A new CPU board (named CC+) is currently available to overcome to several limitations and to add native MIDI interface with SysEx. An optional alphanumeric display could be connected, to make editing far easier and immediate. Even with CC+, an external controller like Behringer BCR-2000 could be used to adjust the various parameters in a much easy way. The instrument could be upgraded with a polyphonic aftertouch kit, and its electronic implementation is present as factory on all units. The eight DVB (dual voice boards) are quite prone to fault, mainly due to component age, and some early CMOS ICs are quite often to be replaced. The Power Supply unit is the most failing part, but a kit (SPSU) is available as drop-in replacement. The wooden keyboard doesn't present any piano-like feedback articulation, but simply it's a pleasure to play.

I already own an FPGA synth (Novation Peak), but the UDO overall sound is astonishing: lot of details and massive body. It has been designed as a true sound research lab, where each parameter works with the full capability towards sound richness. An SSI-based VCF (Dave Rossum design) does model the sound in a very creamy shape, and the filter drive control could recover the low frequency loss that high resonance values could introduce, gaining a massive and firm bass range. Two oscillators (DDS1 and DDS2) are FPGA-based but work in different way: DDS1 has sampled single-cycle waveforms (sine, ramp, triangle, square and 32 custom) and its sound is huge like an analog VCO; DDS1 uses calculated waveforms instead (sine, ramp, triangle, square and PWM), that sounds smaller than DDS1 but very useful to enrich harmonics to create very subtle timbre overtones. DDS1 could be enpowered by replicating itself other 6 times, with variable detuning, making the second oscillator unneeded and useful for other purposes. A drift control would simulate analog feel, by shifting pitch, filter cutoff and envelope timings as per a true analog synth. The build is incredible. Very solid and with a great mechanical feedback: sliders does have lot of friction to gain precise setting, rocker switches and pushbuttons looks like Roland Jupiter and Sequential tradition. The choice not to have a display is a bit confusing at beginning, but the design scope is to have the musician to concentrate on the sound instead of diving within menus, leaving off all potential distraction items.

My first synth was an ARP Odyssey II: I've spent months in tweaking it to realize my sounds. The Peak was capable to make me live those ages again. With so many special-sound synths around, I felt the lack of an instrument able to be programmed from scratch; with the Peak I could create brand new sounds, step by step, without having any unwanted effect or modulation disturbing me. All I need could be added and modified during the sound exploration. The filter is interesting and with an own character. Highly recommended!

The controls are of good size and adequate to a live context. In this time of tiny knobs and micro controllers, this one presents all needed items in an intuitive order and useability. Yes, it's a bit large, and a bit expensive, but the learnig curve is very short and it's a pleasure to concentrate myself in the sound and not in a menu and submenu maze. Moreover, the embedded patch generator is a great source for new sound creations. Only the little display should be a bit larger, because it require very good eyes and too much concentration to read it.

It's an XV-3080 with weighted keyboard, and two JV and SRX card slots. It has performance controls acting on filter cutoff, resonance, attack, release and D-Beam controller. The channel aftertouch does its job, even it does require some heavy action. Big buttons to avoid mistakes during live show.

Like the GEM S3, but with 5-octaves keyboard. Polyphonic aftertouch and Turbo-mod as well.

Indeed it's a rompler, and it lacks portamento. After that, the sounds are fat and gorgeous, MIDI has two complete interfaces (32 channels!), display super-readable, excellent polyphonic aftertouch; it sports 4 Burr-Brown DACs. Like some italian production, the panel buttons are thin, so a good lighting is needed to work during shows. The Turbo kit adds more sounds and supports expansion static RAM.

I've bought this small keyboard to use it as an expander during gigs. Driven with a good masterkeyboard, it generates the most beautiful Rhodes sound I've heard in many years; as an old owner of a Rhodes 88, I'm quite used with its voice, and the Reface CP restores the full content of the wonderful electromechanic piano. The other timbres are quite useable in live context, except for the ridiculous Toy Piano. There is an hidden acoustic piano too, but it's nothing special. The built-in effects are effective and complete.

The Polysix could look as very limited today, but its structure and quality is near unsurpassed. SSM filters are more creamy than the CEM ones, the sub osc with 1 or 2 octaves effectively thickens the sound, it is modulated by four true LFOs (VCO/VCF/VCA, PWM, Arpeggiator, Effects) and the Effect section sports a three-BBD delay line like the Solina or ARP Omni. A great old one.

I've bought it second-hand only for the fabulous pipe organ samples: with the Sanctuary card it has 20 different pipe organ samples, rich and full of realism. The polytimbric architecture allows to have a multiple keyboards setup with several organ registrations.

Playing it's very good, but aftertouch is known being a real pain.

Bought because of its very good Rhodes emulation, I've been disappointed by the Hammond emulation: too "plastic" and "perfect", where a real tonewheel is "live" and with uneven characteristics. Good leslie emulation. The acoustic piano definitely unusable for me. The waterfall keyboard action good for the organ, but definitely too light for the rest (how to overcome this?)

The key action is very very plastic. By acting to use the aftertouch, the white keys does bend down!