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Average rating:
4.2 out of 5
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The Polaris is a monster sounding synth,thought it would be simular to the Chroma so I bought one, but these are poles apart,the chroma is intelligent and would happily have tea with your girlfriends folks the polaris would eat their poodle the moment they went out the room, anyway the polaris is a great synth probably not suitable for people who want all those synthi polite background sounds or a band doing 80's covers but for analogue power it can be brutal,if only they'd put osc.balance or another lfo or switchable filter type instead of all those Pedal options or the piddley seq,it would have been one of the greatest polys ever
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I haven't used a Polaris in nearly 20 years, but one very, very musical feature that I longingly crave is that damn tap tempo pedal. You could fire up the sequencer in time with a live performance, pick up or reign in the tempo on the fly, and it free wheeled once you stopped tapping. That is so cool.
MOTU Performer has something like it, but it doesn't freewheel, you have to tap thru the whole sequence. Don't know about you, but I can't hold a steady beat for too long.
I just can't figure out why Steinberg doesn't have something like this in Cubase, or any other sequencer that I know of. I've tried to duplicate this functionality with a midisolutions.com footswitch controller, but I still have to reach over to my Kenton control freak to send a midi play command.
Also, if I try to pick up or lay back the tempo, the taps don't sync with the tempo anymore, not very musically useful. I'm sure the Polaris would follow your taps exactly.
Don't know how good my memory is after all these years, but I'm sure this is the way the thing behaved. Anybuddy feel free to correct me.
I would really love to get in touch with the developer who implemented this bright idea. Get him to license the technology to Steinberg or some other sequencer vendor. Anybody know who the development team was? I would love to discuss this further with anybuddy that's still using one.
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just like delving into it everytime i go to it i discover something new.
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the fender chroma polaris i got for $600 back in 88,it sounds great and warm,fat enough to be a poly analog,but the membrace buttons are chessy and i got some midi pproblems that couldn't run the mutli part properly,then even some noises appeared,finally i sold it to a guy who immigrated to down under and he's a rweal analog lover and i thought he would take care of it.
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When I played live in florida in 87,I used two Chromas togather,it was great the left hand side was the same as the bass end of a piano and from middle "c" up was the high end.Also what a great midi controller I had four F.B.o.1's layerd on both sides,what a big sound.Both synths cofigured like that by themselvs gave me some real fat string pads and layering just the keyboards gave me many real sounding pianos.Had to sale one,and the other' the pads wore out' so I hardwired them with toggles.Make sure to warm a Chroma up prior to a gig,and double check the tuning it hates the cold.
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