Chroma Polaris II - Thoughts and Advice and Ideas Sought

[Ronsonic]

I have a client with four of these things that he wants to resurrect and play. He has some budget.

In addition to the usual and expected problems of 30 year old analog / digital synths, these suffer from the deterioration of the connectors to the top panel membrane switch matrix. The membrane terminates in a tail that plugs into conx on the panel PCBs, the material decays and cracks. All of this species suffers from the problem. It is generally possible to tack leads onto the membrane and run those to the board, but over time these too will crumble and fail. Soon enough the membrane carrying the switch elements will crumble too. It's just a matter of time.

Does anyone have a sound and sexy solution. I haven't found replacement membrane panels and wouldn't trust NOS if I could find them.

Some have replaced the whole 59 Switch matrix with momentary switches mounted in the front panel. Yuck. I've looked into some sort of switch that would fit in the LED holes (3mm) and mount an LED beneath for status. That also is very fussy work and looks like at least $7 a switch before labor.

This is what we call and "Arps & Crafts Project."

Does anyone have a better solution? Spitball me here. Thanks.

[jrfrond]

You know something, if I was in your shoes, I'd bail on this one.

I totally understand the retail shop dynamic. You know that. If I saw someone coming in with 4 of ANYTHING that old and rare (not to mention finicky and a real bitch to work on, even when parts WERE available), I'd be seeing dollar signs, because these ALWAYS run into many, many hours of tech time by the time you are done. Plus, I'd be charging our "Vintage/Rare" estimate fee, which is double our regular estimate fee and is non-refundable.

BUT..... this guy has a budget. Four CPII's and a budget don't mix. Besides the headaches you are about to go through, you will almost surely get screwed on these. You COULD ask for $$$ up-front, but you may have to return it, in all likelihood.

I hated working on those things, and the only REAL expert I ever knew on those (the late Bill Thomas of Roland, and formerly of Fender) is no longer with us.

I say it's better to cut your losses before you go down the road with these. I can almost guarantee that somehow, it will turn into a can of worms.

I feel for you, I REALLY do. We have been screwed with vintage synth repairs in the past, and now I make damn sure that the customer can afford it first. We are currently restoring an original Moog Modular right now for a major music college here in NYC, and they want it as perfect as can be, and there's no budget. We can do that, but it takes time to make these things right. Those Chroma's were NEVER right. So my friend, look at the big picture and don't let the $$$ tempt you. I say, don't do it. In the end, it probably won't be worth the headaches of the wasted time you will spend chasing parts, AND your tail.

[Ronsonic]

Thanks John. Actually, that's the direction I've been leaning anyway. I'm perfectly comfortable turning down a job that would end with an expensive bodge. A cheap bodge makes sense sometimes; time, money, part availability being what they are. But a bodge that costs a lot of money is not something I can get behind.

Did want to throw this one out there to see if anyone had some good answers that hadn't occurred to me.

[jrfrond]

Maybe someone does have better answers, I don't know. I'm looking at it practically from a service managers' point of view, and I see no good coming of this. There are instances when these weird, seemingly profitable jobs come through the door and I have to tell my boss that we are not doing it. Like most owners who aren't techs, he sees dollars, while I just see the tech (which is sometimes myself) and myself (twice mentioned... that's bad!) banging heads against the wall, and a pissed-off customer. It's my job then to convince both the boss AND the customer that we won't take on such a risky job.

There are repair jobs, and then there are "Science Projects". You have to minimize the latter to turn a profit consistently.

[Enzo]

Aside from runaway costs, I am going to be putting my name on the repair. And that involves not only having expenses under control, but also the likelihood of me making the thing reliable when I am done. If I lovingly restore something to like-new condition, and the thing was never very good even when new, I can;t tell someone that my multihundred dollar repair bill will guarantee reliable operation.

I tell people that, "I can;t repair this and put my name on it and feel honest telling you it is repaired."