Conference napalm::commusic_v1

Re;-1

	The Chroma Polaris is a smaller version of the Chroma.  It is
a much inferior instrument except that it has MIDI and the Chroma
does not.

	If you like the Polaris, you'll probably LOVE the Chroma.

	With a list price of $5300, you probably haven't considered
it. However, (hold on to your hat) the Chroma has been discontinued
and some Boston stores (EU Wurlitzer and/or LaSalle) have had 'blow-out'
sales at .....$900.

	That, plus BJ Cooper's 'Chroma-face' MIDI box, and you have
quite a nice, MIDI, multi-timbral synth for around $1500.

	Only drawback I've found with the Chroma is that it weighs
70lbs (130lbs in the anvil case)!

							- Karl

	re .1:
		I haven't seen the old Chroma on sale around here (Atlanta),
	but I could have easily missed it.  Not a keyboard player primarily
	(more into guitars), but I would like a keyboard so I can switch off
	on occasion....  my mother will feel better about all those years of
	piano lessons.
		The reason I asked about the Polaris is that I can get a
	really good price (like dealer cost) on one or get a DX-7 for a bit
	more.
		I've seen several k'boards that might suit my needs, like a
	JUNO or something like that,  but why build in any limits at the 
	start, when I'm liable to go bonkers with this thing.  A couple of
	hundred bucks now is better than being stuck with a half-a***d 
	instrument later.
		I admit I'm a novice on synth keyboards, but from what I've
	seen they look like the way to go.  I've played the DX-7, had a
	few minutes on the Polaris and recorded with the Juno 6(106?), but
	don't know which way to get into this for real.   
		Given the type and price bracket (prefer <1K) any other ideas?
	There's probably a bunch of alternatives I've never heard of.

		Thanks again.

I've had a Polaris for about 6 months, and I've grown increasingly 
unhappy with it.  WHile it's a remarkable, high functional content
instrument, a lot of its features are of marginal value to me, or
require constant reference to the user manual to remember how to use
(or even that they're there!).  The MIDI implementation is full of
bugs, but that's supposed to be fixed by a new chip set that I've been
waiting for for two months now.  The addressing of programs by A through
K and 1 through 12 is a pain, as it's utterly incompatible with 
everybody else's addressing by group (internal, A or B), bank (1 through
8) and patch (1 through 8).  I had to construct a special table mapping
the Polaris patch numbers onto more conventional naming schems so I 
could send program changes to the Polaris from my other keyboards.
The Polaris has many performance features (e.g., hold some notes of a
chord while bending others), but since I mostly do stuff by step 
programming the sequencer, these are of little utility to me.  The
thing is very heavy (about 70 lbs), and dissipates a lot of power.
The velocity sensitivity is strictly on/off, and getting maximum velocity
encoded requires pounding the keyboard so hard that it threatens to
fall off my Ultimate Support stand.  The sounds the Polaris is capable of
sound far more alike than the sounds my Juno 106 is capable of, and they
all have this "dirty" quality to them, as if some internal circuitry 
were overloading and distorting.  Finally, I have never been able to
successfully read/load the factory program tape, despite getting three
different copies of it as well as a dump from another Polaris.

I am unhappy enough with the Polaris that I am negotiating a tradein on
a Sequential Prophet 2000 or a DX-7.  Maybe mine's a lemon, but I would
not recommend the Polaris to anyone.  My dealer warned me that its presets 
were "lame", and that the machine had a lot of obscure functions, but he
thought I could handle it because of my technical skills.  I should 
have got a JX-8P (which was my other choice at the time), which would 
have given me aftertouch as well, but I decided on the Polaris because
of its "features" and because I already had a Juno-106 and was concerned
that the JX-8P would sound too much like it.  Well, I love the Juno, and
I would have been very happy with another synth that sounded like it.

If anybody out there still wants one after all this, I'd be willing to 
part with it for $1K (including the MIDI fixes (if?) they come).

len.

Polaris programmable parameters

	Parameter			Values
	---------			------

    Oscillator 1

	ring modulation			on/off
	pulse width modulation source	envelope/sweep (lfo)
	waveform			sawtooth/pulse
	transpose			to C0..C5 (from C1)
	pulse width			-8..0..+8
	pulse width modulation amount	-8..0..+8
       *vibrato amount			-8..0..+8

    Oscillator 2

	sync to oscillator 1		on/off
	pulse width modulation source	envelope/sweep (lfo)
	waveform			sawtooth/pulse
	transpose			to C0..C5 (from C1)
	pulse width			-8..0..+8
	pulse width modulation amount	-8..0..+8
       *vibrato amount			-8..0..+8
       *envelope pitch modulation	-8..0..+8
       *detune				-8..0..+8

    Sweep (LFO)

	waveform			sine/square
	rate (frequency)		0..10
       *vibrato delay			0..10

    Filter

	noise				on/off
	cutoff frequency		0..10
	resonance			0..10
	sweep depth			-8..0..+8
	envelope depth			-8..0..+8
	keyboard track			-8..0..+8

    Envelope

	velocity sensitivity		on/off
	attack time			0..10
	decay time			0..10
	sustain level			0..10
	sustain decay time		0..10
	release time			0..10

    Volume envelope

	velocity sensitivity		on/off
	attack time			0..10
	decay time			0..10
	release time			0..10

    Performance

       *glide (portamento time)		0..10
       *rate pedal (sweep frequency)	-8..0..+8
       *vibrato pedal (vibrato amount)	-8..0..+8
       *pitch pedal (bend amount)	-8..0..+8
       *cutoff pedal (frequency)	-8..0..+8
       *volume pedal			0..10
       *mod lever range			0..10
       *bend lever range		-8..0..+8
       *volume				0..10

*'ed paremeters are on assignable control

Re .4 - note that the nonsensical negative values for some of the
Polaris's programmable parameters result in a different interpretation of
the parameter's absolute value.  That's what I meant about features that
are too obscure to remember what they do or that they're even there.

len.

I am also primarily a guitarist but, since our group strives for a "textured"
sound when playing out, I find myself doing quite a bit of keyboard work
now.  I have to echo Len's advice about the Juno.  On the very good advice
of a friend, I bought a Juno 106 recently and I *love* it.  It's easy to
understand, easy to use, easy to program, easy to dump patches off to tape
and vice versa, and comes with some great sounds.  Oh yeah, it's MIDI, too.

I also happen to love the method of sound modification - analog.  I also
own a Chroma and a Mirage and, while I understand how to program them,
I find it's much easier and more enjoyable using the analog faders to
modify the envelope, VCA level, LFO, etc. on the Juno.  For one thing, 
it's just easier for me to hit a key/chord with one hand and start fiddling 
with the faders with the other - I get to hear the alteration to the sound 
as it's happening.

One other thing, recently P.U. Whirlwhizzer made a mass-buy of Juno 106's
and was selling them for $650. . .

Steve

Subj; Syntech Chroma/MIDI box

	This didn't seem worth a separate note, and since 2 chroma
owners are already in this note, I thought this might be a good
place for it.

	JL Cooper makes a Chroma/MIDI box.  Old news.  I've heard
a number of complaints about it. But, up until now, it's been the
only choice.

	I'm now told that a company (in CA) called Syntech makes a 
similar box. That's about all I know, except that it's supposed
to be "much better".

	Does anyone know anything further about this?

						Thanks, Karl

Well, Polaris fans, I finally met the New England Polaris field rep, and
he/we fixed it up pretty nice.  Replacing 4 chips brought the software
from rev. 5 to rev. 11, replacing 6 chips gave me the latest filters,
and replacing 4 memory chips quadrupled my onboard memory to give the
onboard sequencer some 10000 (yes, ten thousand) notes of capacity.
The memory I had to pay for, the rest was free.  I also loaded it with
the rev. 2 presets, and the rep tells me there'll be a rev. 3 set available
soon.  He's also going to get me a new manual, and the service manual which
includes details of the MIDI implementation.  The sound is much improved,
and 10000 notes is nothing to sneeze at.  The new software makes the
Polaris multitimbral like a SixTrak - you can assign six different programs
to six adjacent MIDI channels (over the MIDI port - you can't do this from
the front panel using the LINK UNISON facility - so you can't layer six
patches on top of one another for a 12 oscillator solo patch, as far as I
can tell).  There's a dynamite piano in the rev. 2 presets - almost as good
as the one on my MKS-80 Super Jupiter.  Needless to say, my opinion of the
Polaris has dramatically changed for the better.  (I can now read my old
rev. 1 preset tape - the software fixes apparently had something to do with
this.)  It's still a heavy, power hungry, complex instrument, but know
that it sounds good it's worth getting to know;  George (the rep) told me
the new documentation is much better, so I anxiously await the new document
set.

The rep also told me that the Polaris's audio output contains freqencies as
high as 23KHz, and it's important that it be auditioned over a system with
wide frequency response and adequate slewing rate.

There's a Polaris promotion in effect now, so you can get one for a pretty
good price (I think they're around $1200 now).  Make sure you get an "up to
rev" model.  The important points are the rev. 11 software and the new filter
chips.

len.

    
    Whew ! Re: .8 ...
    
    I bought a Polaris at the beginning of the year and have had no
    problems or compaints worth mentioning. I was beginning to wonder
    whether I was just lucky ... or maybe bought something else by mistake!
    
    I don't mind the weight of the instrument since that is largely
    due to the weighted action. Of all the electronic keyboards I have
    tried, I liked the feel of the polaris the best. I use it as a MIDI
    master now.
    
    Regarding MIDI information - there is NONE in the manual you get.
    I've got a bit out of Rhodes by phoning them and a promiss of another
    manual "in the mail". It hasn't arrived. This to date is my biggest
    criticism of Rhodes.
    
    If anyone has a copy of this more complete manual, any chance of
    a copy ??
    
    Robert
    

    It's been 4 months now and I still don't have the new documentation,
    though we (i.e., E. U. Wurlitzer) prodded the rep a few weeks back.
    
    The MIDI stuff is in the service manual.

    My Polaris feels just like my Juno - I don't think the keyboard
    action is weighted.  I find the 12 * 12 program ID organization
    obnoxious, as everybody else is 2 * 8 * 8.
    
    It still makes ugly distorted sounds on some patches and parameter
    combinations.  I am not as happy with it as I used to be, but happier
    than I was when I first got it.  I don't expect to keep it forever,
    I still think other (cheaper) synths sound better.  While it has
    a lot of unique features, they are mostly of little value to me.

    len.
    

    Hi. I'm new here (DEC) and I have a Chroma Polaris. I bought it
    with Rev. 5 software in it. I'm going to upgrade it soon to Rev.
    9 software. Who mentioned Rev. 11 software? As far as I knew, Rev.
    9 was the "latest". Also, do you have any more information on the
    filter chips? I never knew they could be changed until now.
    
    Mike D.

    What about Rev. Ike ?

RE < Note 194.11 by HUMAN::DIORIO >


	I think if you ask around, you'll actually find they're up to rev. 14
or so.  Are you from the MASS area?  A couple of places to call would be E.U.
Wurlitzer and Syntronics in Boston.

  	Dan

    
    	I had a very bad experience with Syntronics.  Was charged for
    chips (n hundred $) that should have been free, and the unit still
    didn't work properly when I got it back.
    
    	It's now in Chicago, were the techie has found all sorts of
    things that Syntronics missed.
    							- Karl

    Re: Chroma revs
    
    Not that I have much of an idea of what a "Chroma" is, but I did
    happen to be talking to Jack Colburne at E.U. Wurlitzer in Framingham
    one night last week when this guy who deals with another instrument
    came in.  After a lot of interesting talk about this and that, Jack
    and this other guy (sorry, name escapes me, I think he had something
    to do with "Fenders" or some such instrument, fairly big guy) got
    talking about Jack's Chroma.  It sounded like there might have even
    been a rev 14+ that fixed some random velocity problem that Jack
    was having.  I strongly suggest giving Jack a call.
    
    It is amazing the stuff you can pick up just listen to two knowledgable
    people talk!  Apparently the Chromas also suffer some form of "chip
    decay" after about three years (Jack's was still going strong at
    3 1/2 years).  A bit of chip replacement, and it will be good for
    another three.  I got the impression that there is a lot of  "black
    magic" involved with the Chroma, but then again, I am new to this
    racket, and may have misinterpreted things.  All in all Jack seemed
    to think that despite its problems, the Chroma is one of the best
    instruments around.  Go in and see Jack sometime when he is not
    too busy, and I am sure he would love to talk about it.
    
    							-Dave

    re .14   flame:
    I too have had bad experience with Syntronics in Boston. 
    (note: it wasn't a polaris)
    
    He kept bleeding me for more money and more time, and even
    caused damage to the unit.  I should have known better when he 
    kept saying he had to do "tuning and calibration" to things like 
    pots and knobs and keyboard wires; definitely a con.
    
    I can't believe wurlitzers recommended them. 
                   
           
    

    I called Wurlitzer in Boston, and Syntronics also. Neither one could
    tell me what the latest Rev. software is for the POLARIS. Syntronics
    said to call the factory. But I don't have the phone number. Does
    anyone know the phone number for the factory or the regional rep,
    so that I can find out this information?
    

    
    	I think I have it at home somewhere.  But the interim, try
    calling information for area-code 714 (-555-1212).
    
    						- Karl

    Has anyone tried the Polaris through a Leslie cabinet. I have a
    Leslie 760, and selecting the slow speed, all of the patches on
    the Polaris seem to take on a more alive, animated sound. I think
    the added presence is a noticeable improvement. Not to mention what
    a Leslie does to spice up Hammond-organ-type patches! What say you?
    
    Also I think the Volume 2 programs are,in general, much better sounding
    than the Volume 1 sounds. Has anyone heard anything more about Volume
    3?

    Has anyone used a Polaris with a computer (any computer) ?  Is there any 
    good Patch Librarian software out there for the Polaris? 

    Any body reading/writing this note anymore? Any Polaris owners still
    out there???
    
    Mike D.

    
    
    Never fear, some of us are still out here and definitely using a
    Polaris or two ...
    
    With my work load for the past couple of weeks I have bearly been
    able to read this notes file, let alone reply (and I'm a quite a
    few behind).
    
    With reference to the patch librarian software sought, there is
    a commercial package available, but I haven't had time to dig it
    out. When I do I'll post a reply here.
    
    Robert
    

    I have been thinking about buying a Mirage (Ensoniq) rackmount sampler.
    I would be using my Polaris as the controller. Does anyone out there
    foresee any problems for me with this particular setup? Has anyone
    tried this particular setup? In general, how do you think the Polaris
    stacks up as a MIDI controller? My impression is that it is pretty
    good because it is touch sensitive, etc. Any comments?
    
    

    The Polaris keyboard is velocity sensitive, but it does not support
    aftertouch (key pressure).  The keyboard does not transpose - the
    Polaris synth modules transpose, but when you press middle C on
    the keyboard it transmits middle C over the MIDI out.  They keyboard
    is "only" 5 octaves, a minor limitation for a master controller.
    The patches are numbered as 11 banks of 12, rather than 2 sets of
    8 banks of 8, somewhat different from most other synths' schemes.
    When I had a Polaris, I kept a patch map posted over the keyboard
    to keep things straight.  Also, Polaris patch A1 is MIDI program
    change number 1, so MIDI program change 0 (A1 or 11 on most other
    synths) is Polaris patch K8.
    
    Anyway, it's usable, but that's about it.  It was clearly not
    *designed* to be a master keyboard controller.  
    
    len.
    

    Thanks for the info Len. You brought up some things that I didn't
    know about. For the time being, however, I think I can get along
    with those limitations.
    
    Mike D.
    

    Does anyone have a case for a Polaris that they would like to sell?

RE < Note 194.26 by LOLITA::DIORIO >
                           -< Polaris carrying case >-

	I could build one for you if you're interested.  I've built cases for
a DX7, a Juno 106, a Korg DW6000, a Yamaha CS-15 and a Casio CZ101.  They
are sturdy, look real good - most people can't believe I hand-made them.  
Wouldn't have a price on hand since I've never made them for sale.

	Dan

    I work at the Mill (MLO5-5), and I live in Haverhill, MA. Which
    Dan Eaton are you?(There are two listed in the phone book.) Also,
    could you estimate a fair price?

	Would anyone else, while I am going to be seting up the table saw,
etc., like to have a case made.  As I said before, I've made a lot of them
and have gotten a system down on how to do them efficiently.  They look
very professional on the outside (am still working on dressing up the inside)
and are much more protective than ones of the same price range you'd buy in
stores.  A general estimate would be somewhere in the neighborhood of $75.
This may vary slightly depending on the keyboard being fitted.  If you're in
the Maynard area and would like to have one made while I'm doing this one let 
me know.

	Dan (who used to be a cabinet-maker)

	This may not be the best place to put this, but I don't know of any
better place to address a large quantity of synth owners.  It may also be
wrong to enter this in a DIGITAL notes file, but I just want to say concerning
that that I am not in business making cases.  This is just a one-time service
I'd like to offer.

    A friend of mine also owns a Polaris, and recently bought an Ensoniq
    rackmount multisampler, to be controlled by the Polaris. He was
    having a lot of trouble at first...only the four octaves would play
    on the Ensoniq; the bottom octave just repeated the notes from the
    octave above. I solved the problem by accidentally hitting the KYBD
    RANGE switch on the Polaris!! I thought that I would share this
    information to help any of you who are having a similar problem
    with MIDIing Ensoniq products (or any other manufacturers products)
    to the Polaris. If the above symptoms appear, try the KYBD RANGE
    switch!
    
    Mike D

    
    I was watching TV the other night, and happened to catch a Carly
    Simon concert. It was an outdoor show on Martha's Vineyard. I was
    pleasantly surprised to see that the keyboard player in the band
    was using a Polaris on stage!! I don't know who he was, but it was
    good to see someone using a Polaris...it seems that the Polaris
    is a maligned and misunderstood instrument. Personally, I think
    it offers a lot of features for the money...I guess the guy playing
    keyboards for Carly Simon thinks so too!
    
    Mike D
    
    

    Recently I "souped up " my Polaris by adding more powerful memory
    chips for the sequencer and replacing the REV 5 EPROMs with REV
    9 EPROMs. Of course, I like having the extra memory on the sequencer,
    but I think I'm going to change back to the REV. 5 EPROMs. The REV
    9 ones have really screwed up the touch sensitivity. I have heard
    this mentioned before, but this is my first experience with it.
    I've also heard that the people at Fender don't consider this to
    be a problem! I really have a hard time believing that! Has anyone
    heard of a higher software REV for the Polaris that eliminates this
    touch-sensitivity problem?
    
    Mike D.

RE < Note 194.33 by LOLITA::DIORIO >

>    be a problem! I really have a hard time believing that! Has anyone
>    heard of a higher software REV for the Polaris that eliminates this
>    touch-sensitivity problem?
    
	Having at one time looked at a polaris, I think I can consider myself
an expert 8^).  I'm nearly positive that there is at least a REV 14.  My main
contacts in this were Steve's Quality Instruments in Danvers, Wurlitzer's and
some repair-based business in Boston (who's name escapes me at the moment).
As to whether the issue of touch sensitivity is attended to in any of these 
revisions, I couldn't tell you (even experts don't know everything!).

	What exactly is 'screwed up'?

	Dan

    I upgraded my Polaris to rev 11 just before I sold it, over a year
    ago.  I didn't notice any obvious screwups at the time.   
    
    One of the reasons I sold it was I couldn't keep up with the revs,
    and the fact that it always sounded like it had a bad case of IM
    distortion somewhere in the sound generation chain.
    
    Anyway, I *KNOW* there's at least Rev 11 software out there somewhere.
    
    len.
    

    RE.35
    Len, thanks for the info...I didn't know there was a Rev 11 for
    the Polaris...I thought that the higher revs (I've heard up to Rev
    14 also) were for the *CHROMA* and not the Chroma *Polaris*. There
    seems to be some confusion on this point. I called up Wurlitzer's
    and asked them if they knew the highest (most up-to-date) Software
    Rev for the Polaris, and they said they didn't know! BTW what is a bad case
    of "IM distortion"? I don't think I recognize that term. Also, at
    the time you sold your Polaris, had you heard about Rev 14 software
    for the *Polaris* (not the Chroma)?
    
    RE.34                              
    
    Dan, what I mean by "screwed up the touch sensitivity" is this:
    It seems like the Rev 9 software adversely affected the *resolution*
    (for lack of a better word to explain it) of the touch sensitivity.
    When you try to play very soft passages, the notes sometimes don't
    sound at all...annoying to say the least! Also it is very difficult
    to do any gradual crescendos or diminuendos...When doing a crescendo,
    and you get beyond a certain point, the notes suddenly
    blare out much louder than you want them to. When doing a diminuendo,
    and you get beyond a certain point, the notes suddenly cut out
    altogether as I mentioned above. It also seems that I have to pound
    very hard on the keys to get a good FF out of it. I guess you could
    call all this a general lack of dynamic *control*. The difference
    is quite noticeable from the dynamic control that was possible with
    the Rev 5 software. BTW...I judge the quality of a touch-sensitive
    keyboard's dynamic control against that of a real acoustic piano (like
    everybody else). This used to be a strong point of the Polaris with
    the rev 5 software, but now (with rev 9) it has become a weak
    point (to me). They seem to have traded off less dynamic resolution
    for increased MIDI capacities. I don't know enough about software
    (really firmware in this case) to understand why or how this could
    come to be. Is this possible?
    
    Mike D.
    
    
     

    I am interested in getting the chips in my Polaris updated to a newer
    Rev, but I don't know which version I am running now.  There doesn't 
    seem to be any mention of it in the owner's manual.  How do I find out?
    I bought my Polaris in December 1985, so I suspect the EPROM's in it
    are pretty old.
    

    re .36
    
    When I got the rev 11 chips installed, I had heard (nor have I heard
    since then) anything about rev 14.
    
    IM (intermodulation distortion) is a kind of distortion that occurs
    when two signals of different frequencies interact to produce sum
    and difference frequencies (hence, intermodulation).  It is a
    particularly offensive kind of distortion because unlike harmonic
    distortion (which changes the harmonic content of a signal) the
    distortion products are inharmonic with respect to the signal.
    My Polaris always sounded like it was gargling, to some degree or
    another - not a  whole lot, but just enough that it always sounded
    "unclean" compared to my other synths.  The Polaris rep also gave
    me new filter chips, which helped a little, but it never sounded
    as clean as my Rolands.  The rep claimed the problem was my Toa
    power amps; he claimed the Polaris output frequencies as high as
    24KHz, and the Toa's slewing rate couldn't handle it.  Well, it
    sounded like that no matter what I played it through, and if didn't
    sound right, I don't really care why if something else (i.e., my
    Rolands) sounded fabulous through the same gear.
    
    len.
    

    RE: .33 through .37
    -------------------
    
    I just read in Electronic Musician (an excellent mag BTW) that they
    have a new Rev set of EPROMs for the Polaris. Rev 9A is supposed
    to solve the touch-sensitivity problems caused by Rev. 9. I will
    bring the article in and enter it verbatim. But I had to make a
    comment about it to let everyone know. 
    
    RE: .37 
    -------
    There is a sequence of button you can push that will tell
    you (using the LEDs) which Rev your software is. I don't know what
    the sequence is offhand, but a friend of mine (who also has a Polaris)
    knows what it is. I'll ask him and post the sequence here.
    
    Re: .38
    -------
    Len, I don't know who gave you the info that there was a
    Rev 11 set of firmware for the Polaris. This article that I read
    just came out, and implies that the latest Rev is this 9A. You would
    think that it would have mentioned Rev 11 as the latest if it was
    the latest. I think someone made a mistake when they told you the latest Rev
    was Rev 11!
    
    Mike D

    They didn't tell me, they (the local Fender rep) installed chips
    labeled Rev 11 in my Polaris.  I saw them.  Somebody else has that
    Polaris now, so I can't open it up to confirm this.
    
    Maybe it was 3 in binary?                          
    
    len.
    

    
    Does anybody know where I could get a pedal for the Polaris cheap?
    
    I not talking about the footswitches for sustain and sequencer tempo,
    I'm talking the pedal that can control volume, filter cutoff freq,
    and other parameters.  
    
    Len, if you are out there, you may know the answer to this question:
    
    Is there a cheap pedal (like a DeArmond volume pedal etc.) that
    I can use as a substitute for the official Fender pedal??
    
    Any help would be appreciated.
    
    Mike D.
    

    Sorry, it's been a while since I had a Polaris.  I don't recall
    anything about the pedal or viable substitutes for the official
    version.
    
    len.
    

RE: .41

    If you're asking because you can't find them at music stores any more,
    try MDS (Music Dealer Svcs) out of Chicago (area code 312).  They do
    buy outs, I guess ... when I needed pedals for my ARPs a few years
    back, they had 'em.  Maybe they'll have what you need.

-b

    
    
    The Fender pedal for the Polaris is part no. 30-5712-700 and sold for
    around $50. You should be able to badger any Fender dealer into trying
    to order it for you. 
    
    Since I never trust dealers, I adapted a Yamaha pedal to work. They
    have a pedal for some of their "home keyboards" which is cheap <$20
    and only needs a 1/4 inch mono phone plug to RCA jack adapter cord.
    Sorry, I don't have the Yamaha number - it isn't on the unit.
    
    You can easily adapt any pedal or even make one yourself. According
    to the print set for the Polaris, all that is in the pedal is a
    10k linear pot. Since they are only two lines to it (input to ADC
    and GND ref), it's pretty obvious how to connect it.
    
    Finally, if you have something like a KX88 with pedal controllers which
    can be assigned to an arbitrary MIDI control change number, then all
    you have to do to emulate the Fender pedal is set your controller to
    send the MIDI control change sequence for controller number 109
    (decimal) - Pedal Volume Depth, if I remember the non-published Fender
    handout correctly. 

    If you have any trouble, I'd be glad to help - though I don't often
    get a chance, these days, to read this notefile.
    
    Robert
        
    

    Thanks Robert, you've been a big help already.
    
    Mike D

    
    Hi All,
    
    I'm am the proud owner of a lovely looking Polaris that I bought
    second hand [maybe even third hand] off a fellow in my group.
    
    Untill last saturday I didn't even have the most remote of clues
    as to what Midi was.  [I'm still not positive I get the whole
    picture, ya know?]  NOW I find out that the blinkin thing can
    be taken apart and upgraded?!!?  What a stunner!
    
    I have no idea how to tell what rev. software is in the thing nor
    how to go about getting it checked out and/or upgraded!  I'm not
    even sure now if it really does work right.  [*sigh*]  All I know
    is, it's fun to play and christmas carols sounds really great when
    played on it.
    
    Now, can one of you techno wizards help me out with the basics of
    my complicated piece of coumputer hardware [and I thought it was
    an electric piano...nothin more] and perhaps give me some hints
    on what I should be doing with it?  Suggestions?  Help?  I'd hate
    to go on living with the knowledge that my li'l gadget isn't working
    to it's potential.
    
    Also, any clues on where I can get a case for this monstrosity?
    [Dan?  You still building?]  Is the Wurlitzers y'all keep mentioning
    the one that is at the end of Newbury Street near the Mass Pike
    on ramp?  Anyone out there know a good piano/keyboard teacher that
    isn't too expensive?  
    
    If I find out that I am in way way over my head, what does a nice
    used Polaris go for these days?  ;^)
    
    No...I won't give up that easy.  I'm going to be a midiholic like
    everyone else if it kills me!  :-)
    
    Becky

    Write/call Fender and get a manual.  Even if they charge you for it.
    It's worth it.                                                   
    
    If Fender has no more manuals, I've got a friend who might be coerced
    into xeroxing a copy of his manual.  Let me know.
    
    By the by, what serial number is your Polaris?  Different serial
    numbers came with different ROMs.
               
    Caution: the 25-pin connector on the back of the Polaris is NOT
    an RS-232 line!  It's a Fender-private Chroma&Polaris interface.
    Don't plug a terminal in there, you may hurt something important.
                                                     

RE < Note 194.46 by LANDO::ROGERS >
    
Becky,
    
	MIDI - wonderful tool.  I've been involved with it for more than 3
years now and I'm still learning new things I can do with it.  

	To explore the world of synthesizers, well, there's a few decent books
out there, and they can be of some help (especially the ones from Keyboard 
magazine - look for order blanks in the mag) - but I think the way I learned
best was;

	Play with the controls,
	Ask questions of more experienced users (this conference has been, by 
		far the BEST source I've found),
	Play with the controls,
	Ask more questions...

	Can't help you with the Polaris specifically, though I almost bought
one once, I was quite impressed with it.  I also can't recommend any teachers.

	As far as cases, well, I may be up for building a new batch of cases.
I think in order to make it worth my while I'll need to get a few orders.
Anyone else want a case?

	Dan
    

    How much for an Octapad case?
    
    (what kind of "cases" are these?  ATA?  Local-transport rigid? 
    Padded gig bags? )
    
    	-Bill
    

RE < Note 194.49 by CTHULU::YERAZUNIS "Hiding from the Turing Police" >

>    (what kind of "cases" are these?  ATA?  Local-transport rigid? 
>    Padded gig bags? )

	The cases I make are good for local gigging.  They are made from
3/8" plywood and 3/4" pine, come with full harware, padding, and are vinyl
covered.  They are quite attractive.  They are not up to 'flight-case'
standards, though.

	For more detailed information and arrangements, contact me off-line.

	Dan

    Becky, seeing as you had Edd Cote sitting right there beside it,
    I assumed you knew quite a bit about it :-) :-)
    
    		Eirikur
    

    
    
    Well, to tell the software rev. you press Lower Function, Diagnostics
    and either 1, 2, 3 or 4 (can't remember which - I'm at work - working
    late ...). You can tell which it is because you'll get (again memory)
    a bank character and a number  (e.g. D 9 ).
    
    DON'T press 12 after the diagnostic button - that's the master memory
    clear and system reset: very embarassing if you haven't backed the
    patch memory up.
    
    To get out of diagnostic mode, press Lower Function again.
    
    Sounds like you might not have any information on the Polaris. Send
    me mail - a list of what you'd like (and a mailstop, etc.) and I'll
    try and copy some of the info for you.
    
    Robert
    
    

    
    
    Whoops. Must have been asleep - correction to previous reply.
    
    Software revision is given by pressing:  Lower function, diagnostics,
    2.
    
    A number (apart from the 2) will light up.
    
    State of the battery is given by pressing: Lower function, diagnostics,
    1.
    
    If the battery (for backup of the memory) is ok, 2 or more LEDs
    should light to the right of the assignable slider (4 means fully
    charged).
    
    All LEDs can be tested by pressing: Lower function, diagnostics,
    3.
    
    The ADC circuit can be tested by pressing: Lower function, diagnostics,
    4.
    
    In this mode, moving the master volume slider up to maximum should
    light the LED above it. If it doesn't, or it lights before the slider
    reaches the top, there is a problem.

    Those are the main "useful" diagnostics.
    
    Robert
    
    

    
    re: -* Thanks Robert, Dan etc etc...
    
    I know alittle more now than I did before.  Which is cool.  :-)
    I'm going to have to really investigate now!  More gizmos to
    figure out, I love it!
    
    I'll have to keep reading this file to see if I can pick up more
    info and broaden my horizons.
    
    B

    I owned a Polaris for about a year.  I eventually traded it in on
    a JX-10 for two reasons - I liked the sounds in the JX better,
    and the Polaris had a ton of performance oriented features that
    I would never use.  (I'm a techno-dweeb sequencer weenie; the only
    instrument I can play halfway reasonably in realtime is a drumkit.)
    I had mine upgraded to a later rev of the software (new rom chips)
    and added more memory to give the sequencer a 10000 note capability.
              
    The extensive performance oriented features absolutely require the
    manual.  The Polaris had numerous unusual features that you'd never
    be able to figure out without the documentation (e.g., the diagnostic
    capability just discussed).  Some of the controls are "bipolar"
    (i.e., the center position means "zero", up means "plus", down means
    "minus").  It has a three stage envelope (ASR) for the VCA and a
    five stage envelope for the VCF.  It can handle incoming data on
    up to 8 adjacent MIDI channels, even though it's only 6 voices.
    
    Etc..  A truly unique instrument.
    
    len.
    

    
    
    Len's right, it is a weird machine.
    
    The owner's manual tells you about a lot of the capabilities. The
    Polaris Midi spec and software description I talked Fender into giving
    me tells you even more. 
    
    For example, the software in the machine is an object oriented system.
    Via system exclusive Midi messages you can create, assign, delete
    objects within the system. The are several different purposes for
    objects, the principle one of which is "patches". Now an object doesn't
    have to associated with a Midi patch number - there is an internal
    identifier (4 hex digits). Thus one can create as many as there is
    memory for. 
    
    The patches can be assigned to Midi channels via sysex Midi messages in
    real time and up to 8 can be assigned at one time. Note that this
    can ONLY be done via Midi - if that isn't weird, what is?
    
    Now a patch is represented by an object 44 bytes in size. There
    are various primitives that may be used to manipulate object -
    including "sending messages" to them - bizzare. You can create objects
    of arbitrary size and content and have the Polaris dump them on
    an arbitrary Midi channel.
    
    All this is done with sysex messages.
    
    Objects include some predefined ones: 
    
    * each stored patch
    * all of memory
    * leds - each can have it's state read or changed ...
    * any stored sequence
    * the sequencer work space
    * the patch workspace
        
    I've never explored all of the strange things you can do with this
    software architecture, but it was sure fun setting up the KX88 to
    control some of the simpler things!
    
    Robert
    
     

    I have made up a "patch sheet" to record Polaris patches on paper.
    
    The patch sheet shows all of the patch (not performance or sequencer)
    controls with the proper gray-shaded replicas of the Polaris "growing
    lines". 
    
    The patch sheet is available electronically for printing on any
    PostScript printer (LN03R, LPS40) and as a .UIS file for those of
    us who run strange rendering programs. It can be rendered and printed
    on an LN03 with bitmap, but the "grays" don't look anywhere near
    as nice.  The sheet was drawn with SIGHT, so it can be modified
    by anyone with a VAXstation (including modifying the gray-out blocks
    (there are only 7) to achieve a good effect on your local flavor
    of printer).
    	
    Send me a 'gram and we'll work out how to get a copy of the file
    to you (I'd post a node::directory but that's likely to change in
    the not-too-distant future.)  
    
    If you don't have an appropriate printer, I'll send out a paper copy
    for you to xerox (USPS mail until DECMS is officially recognized by
    Personnel ) 
    	
    	-Enjoy