Chroma

Back in 1982, this beast arrived from Rhodes as one of the first true polyphonic analog synths, packing 16 voices into a sleek cabinet that turned heads with its computer-controlled brains and that rare weighted keyboard feel.

At its core, it's a hybrid analog/digital powerhouse with 16 oscillators, filters, VCAs, and LFOs, plus 32 envelope generators—each voice featuring its own oscillator, waveshaper, filter, and amp, often paired for doubled-up "fat" sounds or intricate layering. You get wild flexibility through 16 signal paths, from basic VCO-VCF-VCA to oscillator sync, ring mod, filter FM, or serial filters, all digitally managed for rock-solid tuning and storage of 50 patches (expandable via cassette). The 64-note velocity- and aftertouch-sensitive weighted keyboard spans E to G, with modulation from velocity, pressure, LFOs sporting 16 waveforms, and extensive routing options that feel almost modular. Controls live on membrane buttons and sliders for osc sections, sweeps (LFOs in sine/square), filters (cutoff, res, noise), envelopes, splits, arpeggiators, and a graphic EQ—dense but rewarding once you dive in.

Players have long praised its massive, aggressive tones and stability, earning spots in rigs from Herbie Hancock and Joe Zawinul, though the button-heavy interface draws gripes for tricky hands-on tweaks. It's a vintage gem that still inspires deep sound design.