Blackstar Polar 2

While it’s not the first USB interface optimised for electric guitar players, Blackstar’s new Polar 2 has some neat tricks up its sleeve. Operating as a dual‑channel, class‑compliant interface, it works not only with Mac or Windows PCs without drivers, but can also be used with iOS and Android devices using appropriate adaptors. Conversion is 24‑bit at up to 192kHz, and the free Polar Control software offers mixer‑like facilities, including stereo linking, virtual inputs (channels 3+4) and direct source monitoring for latency‑free overdubbing. The software isn’t essential for basic operation, but it’s a very worthwhile addition.

A pair of combi XLR/jacks on the front edge of the case handle the mic/ line/ instrument inputs and there is globally switchable 48V phantom power for use with capacitor microphones. The phantom power switch is also on the front of the metal case, where it’s joined by a quarter‑inch headphone jack with its own volume control. The main monitor volume control is a large knob flanked by dual stereo input and output level meters, comprising vertical rows of six small LEDs. Quarter‑inch TRS jacks provide the monitor outputs, and computer connection is via a USB‑C port. Should insufficient power be available over the USB connection, there’s a barrel power input socket and an included cable for any 1A (or higher) USB power supply. (A USB‑C to A cable is also included, but there’s no USB power adaptor). The interface includes a free download of Blackstar’s excellent St James amp modelling suite plug‑in, which normally costs a good chunk of the interface’s asking price! Plus you get licences for Ableton Live Lite, Melodyne Essentials, the Relab LX 480 Essentials reverb and the previously mentioned Blackstar Polar Control software, so the user has everything they need in this package to start recording music.

The Polar 2’s control software can be very useful — but it’s not essential for operation.

Each channel has its own line/instrument toggle switch and above that is an Enhance switch. In instrument mode, the high‑impedance FET stage emulates the input stage of a typical guitar amplifier and adds subtle harmonics, but switching on Enhance brings in extra circuitry that avoids digital clipping, presumably by using a type of soft analogue saturation to prevent peak levels ever hitting digital maximum. Whatever it is, it’s very effective in controlling what can be surprisingly high transients as a guitar string is picked. This mode also seemed to work well to tame pedals, and can add a little ‘hair’ to the sound that gets more intense when the input is pushed hard. I found that Enhance also improved the playing feel, making the DI sound respond in a more amp‑like way.

If line or mic mode is selected, then Enhance adds a vintage preamp character that warms the lows while enhancing the definition of miked acoustic guitars and the like by adding a little high‑end air. Apparently its EQ curves were modelled after settings created on a Neve 1081. It’s subtle but it’s certainly flattering.

The bundled software is also very generous too, as the St James amp emulations are particularly impressive.

Summary

In summary, the Polar 2 serves as a very straightforward, easy‑to‑use interface, but it has some enhancements tailored for recording electric guitar, instruments and voice that are very effective. The bundled software is also very generous too, as the St James amp emulations are particularly impressive.

Just as we were about to go to press, Blackstar announced the Polar 4 interface in the same range. Built in a similar format to the Polar 2, it offers four mic/line/instrument inputs (each with the same Enhance function) and adds five‑pin MIDI in and out, plus dual headphone outputs, each with its own volume control. Phantom power is again switchable globally, and quarter‑inch jacks are used for its four outputs. The styling of the wider case (to accommodate the extra channels) is similar and you get the same generous software bundle.