Musicians, producers, and sound designers looking for a powerful desktop synthesizer with Eurorack compatibility will be impressed Pittsburgh Modular Taiga, a complete analog semimodular synthesizer module that is wired for instant access to classic tones without needing a single patch cable. Out of the box, the module is capable of generating huge basses, shimmering leads, lush pads, and warm drones. The Taiga is compatible with all Eurorack modules and systems and features a complete set of patch points able to override the internal audio and CV signal paths.

The Taiga features a powerful control module with a MIDI-to-CV converter, tap tempo clock, 32-step sequencer/arpeggiator, and multifunction modulation tool with tons of options. The sound generation section is supplied by three complex oscillators that leverage cascading waveshapers and wavefolder to generate massive harmonic content. The multimode filter features the signature Pittsburgh gummy and relaxed sound with no dead spots. An advanced dynamic section goes well beyond traditional VCAs with it's redesigned low-pass gate. Rounding out the instrument is dual ADSR envelopes, an LFO, noise generator, and an analog bucket-brigade delay. The module can be removed from its enclosure and placed into any standard Eurorack case. The Taiga ships with a set of Nazca patch cables, power supply, and a 3.5mm to MIDI adapter.

57 I/O Patching Points    MIDI to CV, Seq/Arp, Clock, and Random    3 Osc with Waveshapers and Wavefolders    Osc/Noise Waveform Mixer with Preamp    Pittsburgh PHG Multimode Filter    LFO and Two ADSR Envelopes    Powerful Dynamics / VCA Section    Steel Desktop Enclosure with Wooden Ends    Includes Patch Cables and MIDI Adapter

The Digital Control Functions built into the Taiga include a MIDI-to-CV converter, tap-tempo clock source, octave shifting, a 32-step sequencer/arpeggiator, and a multifunction modulation tool with a clock synced LFO, decay envelope, and random voltage generator.

• The sounds generated by the three Taiga oscillators are the culmination of years of research and design. The cascading wave shaping circuitry we have created is the foundation of our organic analog synthesis concept.
• The unique sound of Taiga starts with a refined version of Pittsburgh's temperature stabilized, analog VCA saw-wave oscillator core. The internal signal path of the Taiga oscillators passes the core saw waveform through up to 4 additive wave shapers before reaching the output. Waveform names should be thought of as more of a guide to harmonic density than the definitive shape of the output wave. During the design phase, we began calling the initial clean geometric waveforms (sine, triangle, saw, pulse) seed waves because the shapes of the waveforms available at the output are very different than the internal source wave. As an example, if all the wave shaping is turned down, the output of the triangle wave looks more like a sine wave from the output of the sine wave on an oscilloscope. Because of the intensive wave shaping, the seed wave is simply one of several factors that determine the shape and sound of the output.
• The internal signal path of the Taiga oscillators is more complex than typical oscillators. The waveform passes through up to 4 wave shapers on its way to the output. All of the wave shapers before the wave folder circuit are designed to manipulate the waveform in ways that allow it to interact with the wavefolder in different ways.

• The dual mixer section is deeper and more useful than it may appear. It is a 2 channel mixer and a 3 channel mixer joined together and capable of mixing both audio or control voltages. 
• The preamp uses a high gain, soft clipping overdrive limiter circuit to increase the level of audio signals. The preamp can be used to cleanly increase the level of external audio to internal signal levels, or it can be used as an overdrive/limiter for internal signals.

LFO

• The LFO module is an analog, dual-range, low-frequency oscillator with +/-5 volt triangle and square wave outputs. Perfect for long sweeps or audio-rate frequency modulation.
• LFO Ranges: High: 2 Hz to 500 Hz, Low: 41 seconds to 5 Hz

Noise

• The transistor core analog noise source is pitched somewhere between pure white and pink noise. Perfect for percussion or adding a bit of edge to a sound.

Sample & Hold

• The Sample & Hold circuit samples the voltage patched to the [Sample and Hold input jack and outputs that voltage until a new sample voltage is taken. A sample is taken when the Sample and Hold input jack receives a positive gate or trigger. The sample source can be audio or cv. The output is sent to the Sample and Hold output jack.

Mixer/Splitter

• The Mixer/Splitter section offers both mixing and signal splitting with a two-channel unity gain mixer and a set of individually buffered outputs. This section can be used as a two channel mixer, buffered signal splitter, or both.

A distinct sound that has been tweaked to perfection. It offers a warm, organic sweep through the full frequency range. The lowpass filter is gummy and relaxed while the highpass is clean and defined. The goal was to produce a filter that did not have a dead spot, where every turn of the frequency knob produces something interesting.

Filter Response

• The PGH Filter module is a voltage controlled, analog, 2-pole, 12 dB state-variable filter. State variable topology offers several filter output responses, high-pass, band-pass, low-pass, and notch.

Filter Resonance

• One of the more interesting aspects of a state-variable filter is the ability to offer near-infinite resonance without self-oscillating by amplifying a narrow band of frequencies around the filter Cutoff frequency. This helps to shape the smooth, musical sound of the PGH Filter. The amount of resonance available is headroom dependent. Smaller incoming audio signals allow more headroom for resonance and larger incoming audio signals allow less headroom for resonance.

• The ADSR modules are a pair of four-stage ADSR envelope generators that smooth the shape of the incoming gates and triggers to produce a more expressive instrument. The envelope outputs can be used to control the amplitude of an oscillator, the cutoff frequency of a filter or any other function on a module that accepts control voltages.
• The envelopes in Taiga are based on the Lifeforms SV-1 ADSR and are designed to be snappy and percussive. Small adjustments to the [ADSR Attack Knob] will reduce this effect and smooth out the sharp attack.

The Dynamics module plays a large part in shaping the output of Taiga by utilizing a unique processing circuit that adds dimension to the sound. The Dynamics circuit is unique in the way that it simulates the characteristics of the natural world. When used in lowpass gate mode, louder sounds contain more harmonic content and quieter sounds contain less harmonic content. This is not the case when using VCA mode. VCA mode simply changes the loudness of the sound without modifying the harmonic content. There is no reason that synthesizers need to simulate the real world but because of how it affects the harmonic content of sound, a low-pass gate sounds more organic or natural compared to a standard VCA.

• The Echos module utilizes a pair of 4096-stage BBD chips to produce a voltage controllable analog delay signal. Clean delay time can vary from 16 to 250 ms. The maximum delay time can be increased using the Echos Time CV input jack. The delay time maxes out at 500 ms but the increased time comes at the cost of fidelity and high-frequency clock-noise bleed.
• The name BBD stands for bucket-brigade device in reference to a line of people passing buckets of water to quickly extinguish a fire. Each stage of a BBD chip contains a single capacitor. Pairing two chips together creates a chain of 8192 capacitors. Like the water buckets, an audio signal is passed from capacitor to capacitor within the BBD chips once every clock step. A slower clock produces a longer delay and a faster clock produces a shorter delay.

Line level and headphone outputs. The line level output is monophonic. The headphone output is dual monophonic with the same monophonic signal routed into both the left and right channels.

Related Questions and Answers

Q: 1. Is the base where it folds made out of plastic or metal? The ones I currently have are plastic and are consistently breaking.

A: The knuckles holding legs to the post are made of metal.

Q: 2. Are the shafts covered in grease to allow the air cushioning to work or are they clean?

A: Hello David,The stands are very clean and very smooth to operate..I am NOT a photographer..I bought them to hold wind flags for my Bench Rest Rifle Shooting..I have several and expect to buy more this Spring..Harv

Q: 3. are the tube holders plastic or metal?

A: The collars that cover each stand section are plastic.

Q: 4. How big is the footprint for this light stand?

A: The footprint diameter on this stand is 36 .

Q: 5. Can you adapt wheels to the Impact LS-8A1?

A: The Impact Set of 3 Casters (22mm) B&H # IMCLS22B is compatible with this stand.

Q: 6. Where is this light stand manufactuered?

A: COUNTRY OF ORIGIN CHINA

Q: 7. Will this stand, equipped with the recommended attachment, B&H #IMDUBAS (B&H Number) accommodate a Phottix Juno unit?

A: Yes, the Impact Air-Cushioned Light Stand (Black, 8') with the B&H #IMDUBAS will allow a speedlight like the Phottix Juno to attach to it.

Q: 8. Does this stand connect to the Aputure Amaran AL-528S ?

A: Yes, this stand can work with the Aputure Amaran AL-528S, with the provided stand adapter.

Q: 9. How do i attatch a ring light ?

A: You may need to buy an adapter from whatever your ring light has to a standard light stand.

Q: 10. Will this light stand work with the Falcon Eyes SO-28TD Sophiez?

A: Yes.