Owners’ Manual - ENGLISH
Designed and Engineered byBlackstar Amplification UK

Contents Page

Introduction
Our mission is to design the ultimate tools for self-expression for guitarists.
In the 17 years since Blackstar was founded in Northampton, England,
we have launched countless award-winning products that inspire guitarists
around the globe.
After extensive research, development, and testing, we present
POLAR 4, the audio interface designed for the recording guitarist. POLAR
enhances your guitar DI signal to replicate the feel and response of playing
through a real valve amplifier. POLAR is the ultimate audio interface
solution that empowers guitarists and artists alike to unlock their fullest
sonic potential with:n 4 channels of studio-quality preamps to capture the full richness
and detail of your vocals and instruments
n FET instrument inputs for ultra-low noise and high headroom, 		creating an excellent sonic foundation for your guitar tone
n The proprietary Enhance switch, adding a unique circuit that 		emulates the input stage of valve amplifiers, enriching the sound of all
guitar amp plugins
n Instrument inputs that completely prevent digital clipping, allowing
you to drive the input like the preamp stage of a valve amp
n Meticulously engineered microphone preamps, with vintage mic 		
preamp tone that adds warmth and lifts vocal performancesn The power to start recording now, right out of the box with the 		
included bundle of studio softwaren POLAR Control software, offering complete control of your monitor
mix and moren iOS capability, allowing you to stream and record on the go2

Contents
Introduction

2

Contents3

Getting Started
In the Box
System Requirements
Software System Requirements
Getting Started

4
4
4
4
4

Overview - POLAR CONTROLDAW Setup
Ableton Live
Logic Pro X
Pro Tools
CubaseFL Studio
Studio One

11
11
11
11
12
12
12

5

Connectivity
Instrument and Microphone
Line Level Devices

13
13
14

Overview - POLAR 4 Hardware

6

POLAR CONTROL - Layout

15

Panels – A Closer Look
InputsSetting Input Preamp Gain
Input and Output LED Meters+48V – Phantom PowerLine/Instrument Switch
Enhance Switch
Monitor Level Control
Headphone Level Control and Output
Balanced Outputs
DC 5V Power Input
USB-C

7
7
7
7
8
8
8
9
10
10
10
10

POLAR CONTROL - Details
Channels
Direct Input Monitor
Level Fader
dB Value Box
Level Meter
Pan Control
Mute / Solo Buttons
Stereo Link
Sample Rate
Preset Box and Save Button
Output Mix Section

16
16
16
16
17
17
17
17
17
18
18
18

POLAR CONTROL - Examples

19

POLAR CONTROL - Signal Flow

21

iOS
Lightning to USB Camera Adapter
Lightning to USB 3 Camera Adapter
Operation

22
22
23
23

MIDI

24

Specifications

25

3

Contents Page

Getting Started
In the Box

Getting Started

n POLAR 4n Quick Start Guiden USB-A to USB-C Cablen USB-A to DC Cablen Safety Information Sheet

For information on downloading software, installation, and the included
studio software collection please visit:https://blackstaramps.com/polar4-welcome

System Requirements
The POLAR 4 Audio Interface is compatible with:n macOS 10.15 and latern Windows 8 and later
Software System Requirements
POLAR Control software is compatible with:n macOS 10.14 and latern Windows 10 and later
File Directories
POLAR Control Preset Files are by default saved to the following
directories:n macOS~/Documents/Blackstar/Polar/Sessionsn Windows~/AppData/Roaming/Blackstar/Polar/Sessions

4

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Overview – POLAR Control
Blackstar’s POLAR Control software, included with every POLAR interface, offers professional-level mixing and routing for Windows and Mac. Developedby expert audio engineers, it emulates traditional studio mixers for complete control and customization.
Streamline your workflow with quick adjustments and versatile routing seamlessly alongside your DAW—all within an intuitive, user-friendly interface.
For more details on POLAR Control, see page 15

5

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Overview – POLAR 4 Hardware

5
4
3

6
7
8
9

2

10

1
11

13

14

12

15
16

1. Inputs 1 & 4: Connect your instrument, microphone, and line level
devices here.
2. +48V Switch: Switch on to power condenser microphones, or other 		devices requiring phantom power.
3. Input Gain Controls: Adjusts the input gain to set the desired level 		for each channel.
4. Line/Instrument Switch: Toggle between line-level and instrument-		level input signals for each channel, when connected to the input 		
using a XLR cable, the LINE/INST switch is disabled.

5. Enhance Switch: Switch on to engage a unique circuit that emulates 		the input stage of a real valve amplifier on the instrument input; or to
add a gentle high shelf EQ that brings out clarity on vocals.
6. Power LED: Lights white when the interface is powered.
7. LED Input Meters: Shows the preamp gain levels for each input,
with peak hold functionality.
8. LED Output Meters: Shows the output levels being sent to the
Balanced Outputs on the rear panel and Headphone output, withpeak hold functionality.
9. Monitor Level Control: Adjusts the output level of the balanced
outputs on the rear panel (1/L & 2/R)
10. Headphone Output Jacks: Connect your headphones here using astereo 6.35mm (1/4”) jack connected.
11. Headphone Level Controls: Controls the level sent to the 			headphones output.
12. Balanced Outputs: Connect to studio monitor speakers or devices
with line inputs. We recommend using 1/4” TRS jack cables for balanced
connections.
13. Kensington Lock: use a lock to secure the device and deter theft.
14. DC 5V Power Input: an optional way to supply power to your POLAR 4
15. USB-C: Connect your POLAR 4 to your computer using the supplied
USB-A to USB-C cable. Most computers will power your POLAR 4
using this port only (bus power).
16. MIDI Input and Output: 5-Pin MIDI connections for MIDI devices
TIP: The Enhance Switch works in one of two ways, depending on what source isconnected to the input.
To add the feel and response of real valve amps, make sure you’re connected to the input
using a ¼” jack cable, and that INST is selected for that input.
To add clarity and presence to vocals and more, make sure you’re connected to the input
using an XLR cable. Connecting an XLR cable will disable the LINE/INST switch.

6

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NCE
ON

INST

Panels– A Closer
Look
E N H AENNCHEA N C E
E NH ANCE
E NH ANCEE NHAENH
NC EA NC E
OF F O F F O N

ONO FF O FF O N

ONO FF O FF O N

ENH A NC E

ON

O FF

P O L A R

This section will take an in-depth look at all the functions and features available
on your POLAR 4 hardware.
L I NE L IN E IN S T IN ST L I NE L I NE I NST I NST L I NE L INE INS T INS T

InputsLINE

Setting Input Preamp Gain
G A I NG A I N

G A I NG A I N

G A I NG A I N

I

GAIN

2

2

3

4
OV

-12

-18

-18

-18

-24

-24

-24

I N PGUA
T SI N2

As youadjust the input gain, while sending
signal to your-18
-18
input,
you can use the LED Input Meterson the top panel,-24-24
the input meters on Polar Control (pg. 17), or the meters in
INPUTSOUTPUTS
your DAW to visually monitor your input level.
-12

I

-6

-6

-6

4

-12

OV
OV
To increase
the input gain, turn the Input
Gain Control-3-3clockwise.
-12

3

-3

E N H ANCE
Properly
setting preamp input gain level ensures optimal recording quality,
O L clipping
A R or2 noise. If you set the level too
without
introducing
unwantedPF Edigital
O FF
ON
T I N P U T I N T E R FAC E
low you’ll likely end up boosting it afterwards, which could result in hearing
more noise on your recording. If the signal is too high, you can introduce digital
LIN E
INST
clipping,whichsounds like harsh distortion.
2

2

-3

The input preamp level is the level of the signal entering your audio interface,
1 signal that will
3 be
2 sent to your 434which is the2same
computer/device
and DAW(Digital Audio Workstation).

I

I
OV

-6

ON

N

Input and Output LED Meters-6

Connecting an XLR cable here disables the LINE/INST
switch.
-12

4

F E T I N P U T I N T E R FAC E

INS T

I 2
3 4
POLAR 4 features Htwo
Combi jack inputs that accept
EADPHONES
unbalanced mono (TS) ¼”, balanced Mono (TRS)OV ¼”, and XLR
jackcables.
-3OF F+ 4 8V

4P O L A R

O FNE T I N P U T I N T E R F A C E

INPUTSM O N I TO R

OUTPUTSPOLAR 4 features peak hold LED metering, afeature thataudio engineers andI 2professional
3 4musicians use to monitor
and control audio
OV
signal levels more -3effectively.
-6

Peak hold metering
is a type of level metering-12
that temporarily “holds”
the peak level of an-18
audio signal on the-24meter, allowing you to see
the highest signal level reached over a shortO U Thelps
P U T S in identifying and adjusting
period. Thislevels to prevent clipping and distortion.

M O N I TO R

POLAR 4’s LED meters show signal level in dBFS (Decibels relative to full scale)in the following increments:
n
n
n
n
n
n

LED 1 (White): -24 dB
LED 2 (White): -18 dB
LED 3 (White): -12 dB
LED 4 (White): -6 dB
LED 5 (Orange): -3 dB
LED 6 (Red): OV (at 0dBFS or over)When the signal has reached the indicated level, the corresponding LED
will light.
TIP: When setting input level, we recommend aiming for a signal that peaks around -12dB to-6dB. This allows enough headroom to prevent clipping without sacrificing sing-to-noise ratio.

M O N I TO R

7

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Panels – A Closer Look (cont’d)
EN HAN CE+48V – Phantom PowerHEADPHONES

OF F+ 4 8V
ON

OF F

ON

48V, often called “Phantom Power”, is a standard featurethat supplies power from your interface through an XLR
LINE
INST
cable to certain devices that require this extra power towork. Most of the time this will be used for condenser
microphones, but can also be needed for inline microphonepreamps, active dynamic microphones, or active DI boxes.

1. Turn Off +48V: Ensure that phantom power is off before connecting
an XLR to prevent any potential damage.
2. Turn Down Gain: Turn down the Input Gain Control to avoid loudclick or pop noises.
3. Connect the Microphone: Plug in your condenser microphone,G A I N
or other device that requires phantom power, into the XLR input on1
your POLAR 4.
EN HAN CE
4. Turn On +48V: Once connected, turn on the phantom power switch.
OF F
5. Set your level: Now you’re ready to increase and set your gain.
You ON
will see incoming level on the Input LED Meters on the top panel.
L I NanE XLRI N S T
Always turn off phantom power before connecting or disconnecting
cable to avoid loud pops that could damage speakers or headphones.

IMPORTANT: Most modern dynamic and ribbon microphones will not be damaged if you
accidentally have +48V on. However, some vintage ribbon microphones might be. When in
doubt, it’s always best to check the microphone’s documentation to confirm.

GAIN

1

EN HAN CE

Line/Instrument
Switch
OF F
ON

LINE

INST

P O L A R

2

F E T I N P U T I N T E R FAC E

The LINE/INST switch only affects the corresponding
input’s signal coming in via the ¼” part of the Combi jackInput. When an XLR is connected, the LINE/INST switch is
I 2
I 2
bypassed
OV

OV

-12

-12

-3
When LINE is selected, the -3input is setup to be suitable for line-level
devices-6
such as keyboard and studio-6 outboard equipment.

When INST is selected, the -18input is setup to be more suitable for instrument-18
level devices such as an electricguitar or bass.
-24
-24
GAIN
Enhance
Switch2

EN HAN CE
OF F

ON

INPUTSOUTPUTSM O N I TO R

The Enhance Switch works in one of two ways dependingon what you have connected to the input, and whether
E T I N P U T on
I N yourT E R F APOLAR
CE
you have INSTF selected
4 interface.

P O L A R

2

1. 1/4” Instrument jack cable connected, INST selected:
LINE

INST

Both instrument input sectionsI on
your POLAR 4 feature a harmonically
rich
2
I 2
FET input stage, providing you
the
best
sonic
foundation
foryourguitar
tone.
OV
OV
-3

-3

As experts in the field of valve
amp design and topologies, our teamof-6
-6
engineers, developers, and guitar
players
havecreatedafirst-of-its-kind-12-12Enhance Switch to instantly -18
improve the touch, feel, and response-18of your guitar
DI signal.
-24-24
I N onP U TtheS instrument input, it engages
O U T P U TaSunique
When youon Enhance
G A switchIN
circuit that’s been meticulously designed to mimic the input stage of real valve
M O N I Tand
O R characteristics.
2
amplifiers—including
all its non-linear behaviours

8Contents Page
E NHA NC E

EN H AN CE

P O L A R

Panels – A CloserO FFLook(cont’d)
OF F
ONONImmediately hear the tone of your guitar slightly bloom and come alive, making
any guitar amp plugin sound like you’rethrough a real
LIN Eamp! IN S T
L I NEplaying
I NST

Monitor Level Control

Another feature that makes POLAR 4’s Enhance switch ground-breaking for
OVrecording guitars directly is that it completely prevents digital clipping, no matter -3
how much input gain you add. This special circuit allows you to drive Polar’s-6
inputs like a valve amp’s preamp section.
-12

I

2

I

-12

-24

GAIN

GAIN

When an XLR cable is connected, the LINE/INST switch is disabled, and the
POLAR 4 enables its studio quality microphonepreamps.
1
2
Switching on Enhance on the microphone preamps adds a gentle high shelf EQ
to the signal.
Dialled in by Blackstar’s very own staff who have decades of experience inprofessional audio engineering and production, this high shelf EQ
subtly lifts the top end to bring out just the right amount of air and clarity fromvocal performances, even acoustic guitars, and more.
NOTE: If you have a ¼” jack cable connected to the input and LINE selected, the Enhanceswitch will be disabled.
If you notice the Enhance switch isn’t adding the enhanced effect on your guitar signal, makesure you’ve selected INST.

The large monitor control allows you to adjust
theoutput level sent to the Balanced Outputs
OV
on-3 the rear panel, typically connected to yourstudiomonitors.
-6

2

Turn
the knob clockwise to increase the volume-18-24 counter-clockwise to decrease the volume.
and

-18

2. XLR Cable Connected

2

F E T I N P U T I N T E R FAC E

INPUTSOUTPUTSM O N I TO R

NOTE: The Output LED Meters are pre-fader, meaning they will show the dBFS level ofthe signal coming from your computer even if the Monitor Level Control is turned all theway down.

TIP: For the most resolution over your output level control, try setting up your studio monitor
level in this order:
1.
2.
3.

Turn the volume on your studio monitors all the way down.
Turn the Monitor Control Knob up to about 3 o’clock.
Playback your audio and gradually turn up the volume of your studio monitors until
the level is at the loudest that you need.

Now you have detailed control over the full range of your output level needs, while leavingsome room for a bit more passed 3 o’clock when necessary.

9Contents Page

Panels – A Closer Look (cont’d)
Headphone Level Controls and Outputs
HEADPHONESOUTPUTS

Polar’s headphone outputs are designed
to drive both low and high impedance
headphones, providing clear and accuratemonitoring.

For more information on MIDI see page 24

The Headphone Output Jacks are ¼”
stereo jacks.

DC 5V

The dedicated Headphone Level Controls
allows you to adjust the headphone level independently from your monitors.
1/L

2/R

If your headphones only have a 3.5mm connector, you can use a stereo 3.5mm
to stereo 6.35mm (1/4”) adapter to connect to Polar’s headphone output.
Using headphones with a TS or TRRS connector (such as headphones with amicrophone or volume control built into the cable) will most likely not work. We
always recommend using headphones with a stereo connector and/or stereo
adapter.
Balanced Outputs
Outputs 1/L, 2/R, 3 and 4 are linelevel outputs designed to connect your
C 5V
1A
POLAR 4 to active monitors orDdevices
that take a line level input. These outputs
OUTPUTSuse balanced 1/4” TRS jacks and canaccommodate both unbalanced TS and balanced TRS jack cables.
The Monitor Level Control on the top panel of your POLAR 4 adjusts the

1 / Loutput level2 /forR Outputs 1/L and 2/R.

MIDI

DC 5V Power Input
1A

Most computers will have no issues supplying power to your
POLAR 4 over USB, however, if you are using additional
USB-C
peripherals
or high-power devices alongside your POLAR 4, thecomputer’s USB port may not supply enough power.

You’ll usually know when this happens if the POLAR 4 keeps
disconnecting during intense usage, for example, playing
headphones at a loud level and powering two condenser
microphones with phantom power.
For these cases, the DC 5V Power Input allows you to power your Polar Audio
Interface using DC 5V power. Use the included USB to 5V cable to connect youradapter to any standard DC 5V power adapter.
NOTE: When using iOS devices, you must power your POLAR 4 with DC 5V. For moredetails, see the iOS section on page 22.

USB-C
USB-C

The USB-C connection on the Polar Audio Interface is used toconnect the interface to your computer. This connection facilitates
power supply, data transfer, and communication to the Polar
Control software.
Use the included USB-A to USB-C cable to connect directly to an
open USB-C port on your computer.

IMPORTANT: Avoid connecting your POLAR 4 to your computer using a USB hub, as thiswill cause issues and is not supported.

10

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DAW Setup
Digital Audio Workstation (DAW) is a software application used for recording,
editing, mixing, and producing audio.
Polar is compatible with any DAW that supports ASIO on Windows and any
DAW that supports Core Audio on macOS.
TIP: If you don’t already have a DAW installed on your computer, you can get started quickly
with the included Ableton Live Lite software that comes with your POLAR 4.

This rest of this section will cover how to set up your POLAR 4 to start
recording with the most popularly used DAWs, including:
n
n
n
n
n
n

Ableton Live
Logic Pro X
Pro Tools
CubaseFL Studio
Studio One

Before following each guide, make sure you’ve connected your POLAR 4 toyour computer using the USB-C connection, ensuring that the interface ispowered on and properly connected.
Ableton Live
1. Setup:n Open Ableton Live and go to Preferences (usually found under the		 Live menu on Mac or Options menu on Windows).
n Select the Audio tab.
n Under Audio Input Device, choose the Polar Audio Interface.
n Under Audio Output Device, select the Polar Audio Interface.
n Adjust the buffer size and sample rate as needed for your project.

2. Recording Audio:n Create a new audio track in Ableton Live.
n Select the input channel corresponding to the connected 					 instrument or microphone.
n Arm the track for recording by clicking the record button on		 the track.
n Press the main record button in Ableton Live to start recording.
		 USB-C port on your computer.
Logic Pro X
1. Setup:n Open Logic Pro X and go to Preferences > Audio.
n Under the Devices tab, set Output Device and Input Device to the 				 Polar Audio Interface.
n Adjust the buffer size and sample rate as needed for your project.
2. Recording Audio:n Create a new audio track in Logic Pro X.
n Select the appropriate input channel for your connected		 instrument or microphone.
n Arm the track for recording by clicking the R button on the track.
n Press the main record button in Logic Pro X to start recording.
Pro Tools
1. Setup:n Open Pro Tools and go to Setup > Playback Engine.
n Select the Polar Audio Interface as the Playback Engine.
n Go to Setup > I/O and configure the inputs and outputs
		 as needed.

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DAW Setup
2. Recording Audio:n Create a new audio track in Pro Tools.
n Select the appropriate input channel for your connected 					 instrument or microphone.
n Arm the track for recording by clicking the record enable button 				 on the track.
n Press the main record button in Pro Tools to start recording.
Cubase1. Setup:n Open Cubase and go to Studio > Studio Setup.
n Select VST Audio System and choose the Polar Audio Interface as 				 the ASIO driver.
n Go to Studio > Audio Connections and set up the input and 					 output busses.
2. Recording Audio:n Create a new audio track in Cubase.
n Select the appropriate input channel for your connected		 instrument or microphone.
n Arm the track for recording by clicking the record enable button
		 on the track.
n Press the main record button in Cubase to start recording.

2. Recording Audio:n Select the appropriate input channel in the mixer for your 					 connected instrument or microphone.
n Arm the track for recording by clicking the record button in the 				 mixer track.
n Press the main record button in FL Studio to start recording.
Studio One
1. Setup:n Open Studio One and go to Studio One > Options (Windows) or		 Preferences (Mac).
n Select Audio Setup and choose the Polar Audio Interface as the		 audio device.
n Adjust the buffer size and sample rate as needed for your project.
2. Recording Audio:n Create a new audio track in Studio One.
n Select the appropriate input channel for your connected		 instrument or microphone.
n Arm the track for recording by clicking the record enable button
		 on the track.
n Press the main record button in Studio One to start recording.

FL Studio
1. Setup:n Open FL Studio and go to Options > Audio Settings.
n Select the Polar Audio Interface as the audio device.
n Adjust the buffer size and sample rate as needed for your project.

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Connectivity
POLAR 4 supports connections for a wide range of audio equipment. This diagram illustrates a typical setup and how to make each connection.

Powered Speakers

4

PC/Mac45Instrument and Microphone
1. Connect your guitar, bass, or other instruments to Input 1 using a standard
1/4” instrument cable. Make sure you select INST on the LINE/INST
switch. Enable the Enhance switch to optimize the signal with valve amp
inspired circuitry.
2. Connect your microphone to Input 2 using an XLR cable. If you’re using a
microphone that requires phantom power (most condenser microphones)
make sure to enable the +48V phantom power switch.
3. Plug your headphones into the headphone output. If your headphone only
has a 3.5mm jack, you’ll need to use a 3.5mm to stereo 6.35mm (1/4”) 		
adapter. Use the headphone volume control to adjust the listening level.
4. Connect your studio monitors to the balanced outputs. Plug you left
monitor to 1/L and your right monitor to 2/R. We recommend using
TRS cables.

1

2

Guitar3

Microphone

5. Connect the POLAR 4 to your computer using a USB-C cable. This 		connection handles both power and data transfer.

Headphones

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Connectivity (cont’d)Line Level Devices

Pedal Chain Setup

For line-level devices like keyboards and drum machines, use the combo
jack inputs on Channels 1 and 2 with 1/4” TRS or TS cables.

Thanks to the Enhance switch, which mimics the input stage of a valveamp, the POLAR 4’s inputs are ideally suited for guitar pedals. This allows
you to use your favourite guitar effects pedals during recording to capture
their authentic sound.

Make sure you select LINE on the LINE/INST switch.
For devices with stereo outputs (like some keyboards), you can connect
the left output to Input 1, and the right output to Input 2.

To use this setup, connect your guitar to the input of your first pedal.
Then, connect the output of the last pedal in the chain to Input 1 on
POLAR 4 using a 1/4” instrument cable.

NOTE: When LINE is selected, the Enhance switch is bypassed for ¼” TRS and TS inputs.

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POLAR CONTROL – Layout
Polar Control is the software mixer app for the Polar Audio Interface. Designed to operate like a traditional mixer, it offers you the most flexibility for all of your signal
routing needs. For a quick look at how signal is routed on Polar Control, see page 21.

1. Stereo Link: Links two channels together, allowing them to be 			controlled simultaneously for stereo operation.
2. Channel Name: Indicates the name and function of the channel
3. Mute/Solo Buttons: Allows you to mute or solo a specific channel, 		
isolating it or silencing it from the mix.
4. dB Value Box: Displays the current decibel level setting of the channel.
5. Level Meter: Shows the audio level for the channel in dBFS
6. Level Fader: Adjusts the volume level of the channel.

7. Pan Control: Pans the audio signal left or right in the stereo field.
8. Direct Input Monitor: Toggles direct monitoring of the input signal, 		
allowing for latency-free monitoring.
9. Sample Rate: Shows and allows adjustment of POLAR 4’s sample rate.
10. Preset Box: Shows the current preset configuration, and allows you to 		load/save different presets.
11. Save Button: Saves the current settings as a preset.
12. Output Mix Buttons: Selects and shows the current mix for the 		
selected Output Mix.
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POLAR CONTROL – Details
The Polar Software App is designed to enhance the functionality of your Polar
Audio Interface, providing control over monitoring levels, mixing, and routing.
This section will guide you through each feature of the software, explaining how
to use them effectively.
Channels
Like most traditional audio mixers, Polar Control has multiple
channels, each with their own individual pan control, level fader, level
meter, decibel value box, mute, solo, and stereo link button.
The Channel Name indicates the function of each channel, forexample, Channel 1, Channel 2, Playback 1L/2R, and Virtual 3/4.
The channel name is automatically assigned based on the input or
output configuration and cannot be manually changed.
Direct Input Monitor
Before going into further detail of eachchannel’s functions, it’s helpful tounderstand what the Direct Input Monitor button does, and how to use it.

IMPORTANT: When using Direct Input Monitor, you’ll almost always want to disable software
monitoring in your DAW.
If you’re monitoring live vocals that sound slightly doubled, or if you hear an unintended guitar
DI signal, check to make sure you don’t have software monitoring in your DAW and Direct
Input Monitor on Polar Control enabled at the same time.

Level Fader
Each channel on Polar Control features a Level Fader that adjusts
the channel’s volume level.
Click and drag, or scroll the fader up or down to increaseor decrease the volume. The dB Value Box will reflect youradjustments. Double-clicking the fader snaps the level to -6.0 dB.
IMPORTANT:
Fader vs. Preamp Gain: The Level Fader does not control Polar’s preamp control or the
preamp’s gain. It only adjusts the monitoring level of the input. The preamp gain can only be
set using the Gain Control on your POLAR 4 Interface.
What This Means: Adjusting the Level Fader will change how loud the signal sounds in yourheadphones or monitors but will not affect the actual recording level of the input signal.

Enabling the Direct Input Monitor button allows you to directly hear the signal
coming into Polar’s preamps (Input 1 and 2 on your Polar Interface).
Typically, using software monitoring in your DAW introduces a small amountlatency. While usually minimal, this latency becomes more noticeable as yoursession becomes more demanding (e.g., with many plugins or high track
counts), increasing the load on your computer.
With Direct Input Monitor, you can monitor the signal straight from the inputs ofyour POLAR 4 with near-zero latency, which can be crucial for monitoring live
vocal performances and more.
Disabling Direct Input Monitor will mute Channel 1 and 2 on Polar Control.
16

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POLAR CONTROL – Details (cont’d)dB Value Box
The dB Value Box displays the current decibel level of thechannel. The box updates automatically as you adjust the Level
Fader. You can also click inside the box to type in a specific dB value. Values
must be typed accurately including the minus “-“ sign for value below 0.0 db.
Level Meter
The Level Meter provides a visual representation of the audio signal levelfor each channel in dBFS (decibels relative to Full Scale).

Mute / Solo Buttons
The Mute and Solo buttons silence or isolate the audio for eachchannel.
Mute Button: Click to silence the channel. The button will light up to indicate thechannel is muted.
Solo Button: Click to isolate the channel, which will have the effect of muting allother channels. The button will light up to indicate the channel is soloed.

Like the LED Meters on your POLAR 4, Polar Control’s meters move up
and down in response to the signal input.

You can Solo and/or Mute multiple channels at once.
noticeable as your session becomes more demanding (e.g., with many plugins
or high track counts), increasing the load on your computer.

You can use Polar Control’s Level Meters to monitor the preamp level as
you adjust the Gain Control on your POLAR 4 Interface. For more details,
see “Setting Input Preamp Gain” on page 7.

TIP: If you don’t hear audio, but you see signal on Polar Control’s Level Meter, make surethat either:

NOTE: The Level Meters on Polar Control display the signal level before it reaches the Level
Fader. This is known as “pre-fader metering.”
This means that regardless of how you adjust the Level Fader, the Level Meter shows the raw
input signal.

Pan Control
The Pan Control allows you to position the audio signal in
the stereo field.
Click on the Pan Control and drag either up-and-down, or
left-and-right to move the signal towards the left or rightspeaker/headphone.
You can double-click the Pan Control to return to centre.

1.
2.
3.
4.

The channel isn’t accidentally Muted.
The Level Fader isn’t accidentally all the way down.
Other channels aren’t unintentionally Soloed.
The correct Output Mix is selected, (see page 18)

Stereo Link
The Stereo Link button allows you to link two channels together
for synchronized control, which is useful for stereo recordings andplayback.
When enabled, the two adjacent channels will collapse to become one stereo
channel, showing one set of Channel controls that affects both channels at thesame time.
By default, Polar Control will have Playback 1L/2R and VIRTUAL 3/4 linked asstereo.
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Contents Page

POLAR CONTROL – Details (cont’d)
Sample Rate

Output Mix Section
The Sample Rate setting controls how many times(samples) per second the audio is captured or playedback on your computer. It affects the quality of yourrecordings. Higher numbers mean better quality andresolution, but also bigger file sizes and processing
demand on your computer.
POLAR 4 can record and playback at up to 192 kHz.

NOTE: Usually your DAW will determine the sample rate, and changing sample rates in yourDAW would automatically update in Polar Control.

Just like a traditional audio mixer, Polar Control lets you combine different
audio signals and send them to a main output. This is the core of how Polar
Control works, giving you unlimited flexibility to control what you hear in yourheadphones or speakers, and/or how you route your signals.
Output Mix Buttons:
Think of the Output Mix Buttons as different “pages” you can view.
When you select the Output 1 + 2 button, you see the volume (Fader) andbalance (Pan) levels for what’s coming out of the Balanced Outputs 1/L & 2/R,
and Headphone Output 1 on your Polar 4.

If you experience issues with playback (e.g., audio glitches or dropouts), verify that the sample
rate setting matches across Polar Control and your DAW.

When you select the Output 3 + 4 button, you see the volume (Fader) andbalance (Pan) levels for what’s coming out of the Balanced Outputs 3 & 4, andHeadphone Output 2 on your Polar 4.

TIP: For most audio production, a sample rate of 44.1 kHz offers plenty of resolution. For
video and broadcast, a sample rate of 48kHz is often recommended.

If you select the Virtual 5 + 6 button, you see the levels for a separate mix thatcan be used for different purposes, like streaming or recording.

Preset Box and Save Button

You can refer to the signal diagram on page 21 for a visual guide onunderstanding the complete signal flow within Polar Control.

The Preset feature in Polar Control lets you
save and load mix configurations, allowing for
quick switching between different setups tosuit your recording or mixing needs.

TIP: If you’re making mix adjustments, but don’t hear the changes, make sure that thecorrect output mix is selected!

Clicking the Preset Box opens a dropdown
menu where you can Save and Load yourcustom presets. Loading the Default preset
restores the settings to the default factory preset.
You can click the Save Button to quickly save the current mix configuration.

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Contents Page

POLAR CONTROL – Examples
This section outlines a few recording setups that will enhance your experience using the Polar Control software.
1) Recording your own vocals with zero-latency monitoring
n
n
n
1.
2.
3.
4.
5.
6.
7.

Start with:
POLAR 4 connected to your computer
DAW open, with software monitoring off, and POLAR 4 selected as your 		audio device
Headphones connected to your POLAR 4
Connect your microphone to Input 1 on your Polar interface. If your 			microphone requires phantom power, switch +48v to On.
On Polar Control, enable Direct Monitor Input.
On Polar Control, select Output 1+2, then raise Channel 1’s Fader to -6.0 dB
With your headphones on, speak/sing into the microphone while raising theGain control on your POLAR 4 to set an appropriate level (to learn about
setting levels see page 7)
You can use Channel 1’s Fader to adjust the monitoring level of yourmicrophone signal.
On your DAW, when you playback audio, by default it will appear on Polar
Control on Channel Playback 1L/2R. You can use Playback 1L/2R’s Fader
to adjust the level of your DAW playback signal.
Using both Faders, you can balance the levels of the DAW and live vocal
signal to easily create a comfortable mix.

(2) Recording someone else’s vocals with zero-latency monitoring andindependent monitoring mixes
Start with:n POLAR 4 connected to your computern DAW open, with software monitoring off, and POLAR 4 selected as youraudio device
n Your headphones connected to Headphone Out 1, and the singer’s 			
headphones connected to Headphone Output 2.
1. Connect a microphone to Input 1 on your Polar interface. If the microphone 		requires phantom power, switch +48v to On.
2. On Polar Control, enable Direct Monitor Input.
3. On Polar Control, select Output Mix 1+2, then raise Channel 1’s Fader to -6.0 dB
4. On Polar Control, select Output Mix 3+4, then raise Channel 1’s Fader to -6.0 dB
5. With the singer’s headphones on, ask them to speak/sing into the microphone 		while raising the Gain control on your Polar 2 to set an appropriate level (to learn
about setting levels see page xx)
6. On Polar Control, you can use Channel 1’s Fader to adjust the monitoring level ofthe microphone signal. Output Mix 1+2 will set the level for the Headphone Output
1, and Output Mix 3+4 will set the level for the Headphone Output 2.
7. On your DAW, when you playback audio, by default it will appear on Polar Control
on Channel Playback 1L/2R. You can use Playback 1L/2R’s Fader to adjust thelevel of your DAW playback signal.
8. Using the Faders, you can balance the levels of the DAW and live vocal signal toeasily create a comfortable mix for you and the vocalist.

PC/MacPC/MacMicrophone

Headphones

Microphone

2 x Headphones

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Contents Page

POLAR CONTROL – Examples (cont’d)This section outlines a few recording setups that will enhance your experience using the Polar Control software.
(3) Loopback

Often called “loopback”, with Polar Control you can route audio from your computer’s
output back into your recording software, enabling you to record system audio,
streams, or any other audio playing through your computer. This section explains how
to set up and use loopback with the Polar Control software.
1.
2.
3.
4.
5.
6.
7.
8.
9.

Ensure that Polar is being used for audio output in your computer audio 		
settings. If you have the option, select Output 1/2.
In Polar Control software, locate the OUTPUT MIX section.
Click on the Virtual 5+6 button to show the mix for that output (for more 		
info on OUTPUT MIX see page 18).
Play audio from your computer. You should see the Level Meter on the 		
PLAYBACK 1L/2R Channel showing signal from your computer audio.
Raise the Fader for PLAYBACK 1L/2R to maximum (0.0dB). This effectively 		routes the audio playing on your computer back into the Polar interface.
Stop computer audio playback.
In your DAW, create a new stereo track, with inputs set to Input 5/6. Mute 		this new track in your DAW.
Playback your computer audio, you will see the signal appearing in your 		DAW on the new track.
Press the record button in your DAW to capture the loopback audio.

IMPORTANT: When you’re using Loopback, make sure to mute the channel in your DAW soyou don’t cause a feedback loop!

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Contents Page

POLAR CONTROL – Signal Flow Diagramto Output 1/L & 2/R, andHeadphone Output 1 on
Polar Interface
to Output 3 & 4, andHeadphone Output 2 on
Polar Interface
to DAW Input 5/6(and/or Computer Audio
Input 5/6)

from
POLAR
INPUT 1from
POLAR
INPUT 2from
POLAR
INPUT 3from
POLAR
INPUT 4from DAW and/or
Computer Audio
Output 1/2

from DAW and/or
Computer Audio
Output 3/4

from DAW and/or
Computer Audio
Output 5/6

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Contents Page

iOS
POLAR 4 is compatible with most iOS devices, such as iPhone® and iPad®,
providing flexibility for mobile recording and production.

Lightning to USB Camera Adapter
iPhoneiPad

To connect to iOS devices, you’ll need some external accessories that are notincluded with POLAR 4.
Required Accessories:n Apple® Lightning to USB Camera Adapter or Apple® Lightning to USB 3
Camera Adapter.
n Standard 5V USB power supply
While either Apple® adapter will work, we recommend using the Lightning toUSB 3 Camera Adapter, as it allows you to simultaneously charge your iOS
device while connected to the POLAR 4 interface.
NOTE: POLAR 4 will not operate without external power. This means that POLAR 4 cannot
be powered from your iOS device alone.
3rd party adapters are not supported. Please use genuine Apple® adapters.

TIP: Any standard 5V USB power supply will work, including, for example another phonecharger.

31Apple® Lightning
to USB Camera
Adapter2

1. Using the included DC to USB-A cable, connect the DC end to the DC 5V
port on the rear panel of your POLAR 4. Connect the USB-A end to a 5V
USB power supply.
2. Connect the USB-C end of the USB-A to USB-C cable to your POLAR 4.
Connect the the USB-A end of the cable to the Lightning to USB
Camera Adapter.
3. Connect the adapter to your iOS device.

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Contents Page

iOS (cont’d)Lightning to USB 3 Camera Adapter

Operation

iPhone

iPad

3
1

2

Apple® Lightning toUSB 3 Camera
AdapterWith your POLAR 4 connected to your iOS device, simply open your preferredaudio recording app (such as GarageBand®) and start recording and playing
back audio.

Device Charger(Optional)

4

1. Using the included DC to USB-A cable, connect the DC end to the DC 5V
port on the rear panel of your POLAR 4. Connect the USB-A end to a 5V
USB power supply.
2. Connect the USB-C end of the USB-C to USB-A cable to your POLAR 4.
Connect the the USB-A end of the cable to the Lightning to USB 3
Camera Adapter.
3. Connect the adapter to your iOS device.
4. (Optional) Connect a charger to your iOS device.

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Contents Page

MIDI
Using a standard 5-pin MIDI cable, you can enable communication between DAW and MIDI devices and/or controller. The input port receives MIDI data, while theoutput port sends data.
To use MIDI, select Polar 4 as your MIDI input/output device in your DAW settings or computer settings.

MIDI Controller

Analog Midi Device

24

Contents Page

Specifications
Specification
Overview
Number of Microphone Preamps
Phantom Power
Instrument Inputs
Line Inputs
Line Outputs
Headphone Outputs
Midi
Loopback
Connectivity
ProtocolForm Factor
Simultaneous I/O
A/D Resolution
Bus Powered
Supported Sample Rates
Microphone inputs

Frequency Response
Dynamic Range

Blackstar POLAR 4
4
Yes, 48V
4
4
4
2
Midi In / Midi Out
Yes
USB Type-C
USB 2.0
Desktop
6 x 6 (including Loopback inputs)
24-bit/192 kHz
Yes (tbc)
44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 192kHz
20-20kHz ±0.1dB
109dB (A-Weighted)

THD+N-101dB (-103dB A-Weighted); 0dB Gain, 950mVrms, 20Hz-24kHz BW

Noise EIN

-121dBu (A-Weighted)

Maximum Input Level
Gain Range
ImpedanceLine inputs

Frequency Response
Dynamic Range
THD+N
Maximum Input Level
Gain Range
Impedance

2dBu
53dB
3.3kΩ
20-20kHz ±0.2dB
112dB (A-Weighted)-85dB (-85dB A-Weighted); 8dB Gain, 380mVrms, 20Hz-24kHz BW
10dBu
55dB
500kΩ

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Contents Page

Specifications (cont’d)Specification

Instrument inputs

Frequency Response
Dynamic Range
THD+N
Maximum Input Level
Gain Range
ImpedanceLine outputs (Balanced)
Frequency Response
Dynamic Range
THD+N
Maximum Output Level
Impedance
Headphone outputs
Frequency ResponseBlackstar POLAR 4
20-20kHz ±0.2dB
112dB (A-Weighted)-82dB (-81dB A-Weighted); 3dB Gain, 630mVrms, 20Hz-24kHz BW
10dBu
46dB
500kΩ
20-20kHz ±0.15dB
93dB
-80dB
12.8dBu1k
20-20kHz ±0.15dB @ 33Ω / 300Ω

Dynamic Range

110dB @ 33Ω
107dB @ 300ΩTHD+N

-83dB @ 33Ω
-85dB @ 300ΩMaximum Output Level

7dBu into 33Ω
15.2dBu into 300ΩMaximum Output Power

85mW into 33Ω
66mW into 300Ω

Impedance10Ω

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Contents Page

Specifications (cont’d)Specification

Analogue to Digital Converter
THD+N

Dynamic Range
Digital to Analogue Converter
THD+N

Dynamic Range
Power
USB

External (Optional)
Accessory

Blackstar POLAR 4-100dB THD+N
114dB-100dB THD+N
114dB
TBC
4.8W
USB A to DC cable, USB A to C cable27

247402M-VA-1

Blackstar Amplification Ltd, Beckett House, 14 Billing Road, Northampton, NN1 5AW, UK
For the latest information go to: www.blackstaramps.com
Whilst the information contained herein is correct at the time of publication, due to our policy of constant improvement and development, Blackstar
Amplification Ltd reserves the right to alter specifications without prior notice.