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Author: admin | Category: Yamaha Electric Piano | 05.03.2014

A handful of synthesizers were manufactured in the 1980's under the Rhodes name, even though they were not of Harold's design and typically had nothing to do with the Rhodes piano itself. When the seas came crashing down on ARP Instruments in 1981, two-year-old plans for a programmable polyphonic synth were seemingly dashed. Dodds is particularly proud of one reaction at the Chroma's unveiling at the summer 1982 NAMM show in Atlanta: "Bob Moog came up, sat down, and played it for a few minutes.
Following in the footsteps of the Chroma, the ARP Electronic Piano was ultimately marketed as the Rhodes Electronic Piano (Model 3363), previously known to CBS insiders as the "4 Voice". Furthermore, the ad implies that this is the new Rhodes and therefore supercedes the basic product. The full impact of the damaging consequences of this ad may not fully be known for several months, but when the musician who buys this product and then finds out that it is not, as it claims, a worthy creator of "distinctive Rhodes sound" his hatred is going to be directed at the name "Rhodes" because he has been misled, not by ARP, but by Rhodes. The Fender and Rhodes brand names and logos are trademarks of their respective owners and are not affiliated with or endorsed by this website.


Our photographs have all been released into the public domain, which means you can use them for any purpose. The team that tried to surf through internal company resistance to produce the instrument were scattered by the waves.
While pumping out the bilge, he managed to sell the Chroma design to CBS - and get himself hired as the director of its production. It came along at the peak of the Sequential Prophet-5's popularity, offering then-radical functions such as multitimbral operation, voice layering, and keyboard splitting, not to mention velocity response. There's nothing wrong with the exposure of the 4 Voice, in whatever glowing terms would best describe its virtues, but to tie it to the skirt strings of the traditional Rhodes, and, while doing so, to publish deliberate untruths about its ability to create "distinctive Rhodes piano sound" is counterproductive and damaging to both products. After this doublecross how can he be induced ever to look seriously at any of the products we propose to introduce? Voice structuring isn't limited to the familiar configuration of twin VCOs, a filter, two ADSRs, and a VCA; the Chroma's internal computer can route signals through two lowpass filters, in parallel or series, and position the VCA before or after the filters.


What shall we call them; "The Old Rhodes", or "The Real Rhodes", or "The Authentic Rhodes"? I also stopped the design at ARP a couple of times because it was heading down the wrong paths and because there were new technologies available that could put us significantly forward. You got the right velocity sensitivity.' A lot of people were critical, saying velocity response wasn't something people wanted.



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