Pittsburgh Modular Taiga User manual

Taiga is a trademark of Pittsburgh Modular LLC. Copyright © Pittsburgh Modular LLC. 2022
Taiga Desktop Electronic Musical Instrument Patch Book V1.0.1
Taiga Patch Book

1 Patch Examples

1.1 Patch Book Overview:
This Patch Book is a guide exploring the functionality of Taiga. It is not meant to be a
collection of presets. The examples are designed to showcase the functionality of each
module within the instrument using the simplest patch possible. This ensures that the
patches are less confusing and keeps the focus of the patch on the highlighted function.
It is strongly recommended that you read the corresponding section of the manual as
you work through the Patch Book. This will ensure you are able to get the most out of
Taiga in the future.

2.1 DEFAULT PATCH
This patch should provide sound and is an excellent starting point for deeper exploration. Let’s
start from the left and work our way to the right. Patch the output directly into the outputs marked
in red. You should hear a sound out of every one of them.
First the oscillator sine and shape outputs. These outputs provide a constant tone. The sine wave
is not affected by the [Shape Knob]. The waveform sent to the [Out Jack] can be selected using
the [Seed Button] and manipulated using the corresponding [Shape Knob].
The mixer offers 2 outputs allowing the mixer to function as a singe 5 channel mixer or as a pair
of independent 2 and 3 channel mixers. Patch into the [Mix Output Jack] to hear the sum of
channels 1 through 5 or 3 through 5. Patch into [1+2 Output Jack] to hear the sum of Mixer
channels 1 and 2. Patching into the [1+2 Output Jack] removes channel 1 and 2 from the [Mix
Output Jack]. These outputs provide a constant tone in the default patch.
The output of the lter is controlled by the [Filter Frequency Knob] and frequency CV knobs.
The [Freq CV 2 Knob] is an attenuverter meaning it is off in the 12 o’clock position. Turning to
the left adds negative modulation and turning to the right adds positive modulation. This can often
be the cause of Taiga not making sound. The lter output provides a constant tone in the default
patch.
The Dynamics section of Taiga functions as the VCA, managing amplitude in VCA mode and both
amplitude and harmonics in LPG mode. The [Dynamics Output Jack] provides a tone when the
[Dynamics Knob] is turned up or a note is played. In normal operation, the [Dynamics Knob]
should be left full left to ensure the sound fully stops after a note is nished playing.
The [Echos Out Jack] provides a tone when the [Dynamics Knob] is turned up or a note is
played.
The [Main Out Jack] provides a tone when the [Dynamics Knob] is turned up or a note is
played.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Attenuverter!
Pass-Thru
2 Default Patch Example


3.1 Oscillator MIDI Control and Free Running Mode
The pitch of Taiga Oscillators is controlled using 2 modes. Midi and free running. Enable or
disable the MIDI Mode mode by pressing and holding the [Edit Button] then pressing the
[Seed Button].
Experiment with the different modes by listening to each oscillator and the range
available when MIDI response is enabled and disabled.
When MIDI response is enabled, the oscillators respond to MIDI pitch information.
Incoming midi notes set the pitch of all MIDI enabled oscillators. The Control module
[Octave Up Button] and [Octave Down Button] can be used to shift the octave of all MIDI
enabled oscillators.
The pitch range of each oscillator is slightly different. [Osc 1 Pitch Knob] range is limited to
ne tuning. [Osc 2 Pitch Knob] range offers a little over an octave in either direction. [Osc
3 Pitch Knob] range offers a little over two octaves in either direction.
When MIDI response is disabled, the oscillators do not respond to MIDI pitch information
or the [Octave Up Button] and [Octave Down Button].
The [Osc Pitch Knob] range changes to a full frequency sweep range control. Left of 12
o’clock is LFO range and right of 12 o’clock is audio rate oscillator range.
Oscillator MIDI Control is outlined in section 6.2 of the manual.
3 Control Patch Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
(edit/arp note)
transpose
hold
m.ch
oct +
wheel
oct -
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
mode
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
Hold
Press
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
Press Press Press
oct -
(edit/arp note)
Hold
Turn Turn Turn
AUDIO OUT
MIDI IN

3.2 Paraphonic Taiga
Setup Taiga to play 2 notes simultaneously while maintaining a monophonic lter and
monophonic Dynamics signal path. This is not a perfect solution or a replacement for true
polyphony. Many hardware compromises limit the functionality but if you want to play 2
notes at the same time, Paraphonic Mode can do that.
Patch the [Velocity Output Jack] into the [Pitch] input of one of the oscillators. This patch
cable will send the selected oscillator the offset voltage necessary to play the second
note. Any of the 3 oscillators can be used. Make sure MIDI control is enabled for the
selected oscillator. Oscillator MIDI Control is outlined in section 6.2 of the manual.
Set the Velocity Mode mode by pressing and holding the [Edit Button] then pressing the
[Arpeggiator Button] to cycle through the 5 options. Press once to check current option.
Press again to advance through the available options. Select the Saw Wave for Para-
phonic Mode. The velocity mode can only be changed when arpeggiator mode is NOT
active.
The Pseudo-Random Shift Register Modes are worth experimenting with as well. Perfect
clocked random source for pitch, lter cutoff, oscillator shape, etc…
Velocity Output Options
Pseudo-Random Shift Register Mode (most chance)
Pseudo-Random Shift Register Mode (more chance)
Pseudo-Random Shift Register Mode (small chance)
2 Voice Paraphonic Mode
(All LEDs Off) MIDI Note Velocity 0v to 5v Output
Paraphonic calibration procedure is outlined in section 15 of the manual.
3 Control Patch Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
(edit/arp note)
transpose
hold
m.ch
oct +
wheel
oct -
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
mode
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
Hold
Press
MIDI IN
AUDIO OUT


3.3 Using the Multi-Function Tools with a MIDI Controller
The Multi-Function Tool is a digital voltage generator with four modes that controls the
[Control CC/Mod Output Jack]. MIDI CC/Mod Wheel, Triangle LFO, Decay Envelope, or
Clock Sync’d Random Voltage. Press [Edit Button] then press the [Octave Down Button] to
cycle between modes. Press once to check current mode. Press again to advance
through the available options. The multi-function tool mode can only be changed when
arpeggiator mode is NOT active. Function details are outlined in section 5.25 of the
manual.
Multi-Function Tool Output Options
Random Voltage (assigned MIDI CC sets randomness)
Decay Envelope (assigned MIDI CC sets decay time)
Clock Sync’d Triangle LFO (assigned MIDI CC sets clock division)
Assigned MIDI CC/Mod Wheel 0v to 5v Output
For testing purposes, patch the [Control CC/Mod Output Jack] into the [Filter Frequency
CV 1 Input Jack]. Adjust the MIDI controller Mod Wheel or selected CC controller to
modify the output. Test each function by listening to the output of the lter. The Multi-
Function tool is perfect clocked LFO, random, and triggered decay envelope source for
pitch, lter cutoff, oscillator shape, etc…
Selecting active MIDI CC source is outlined in section 5.26 of the manual.
3 Control Examples
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
Hold
AUDIO OUT
MIDI IN
mode
Press
oct -
(edit/arp note)
Random
Envelope
LFO
MIDI

3.4 Programming the Arpeggiator THREE Different Ways
Arpeggiator mode outputs a monophonic pitch and gate signal. Arpeggios up to 32
notes with velocity are available. Make sure the oscillators in the audio patch have MIDI
control enabled. The arpeggiator pitch is sent to the oscillators via MIDI. Enable
arpeggiator mode by pressing the [ARP Button].
Entering an arpeggiated sequence using standard arpeggiator input method. Press and
hold a few keys on a MIDI keyboard. The arpeggiator will cycle through the depressed
keys in the order they were pressed. Playing the notes in this order is sometimes called “as
played”. To stop the arpeggiated sequence, release one or all of the depressed keys.
Enable the hold function by pressing the [Hold Button]. The Hold function allows the
arpeggiator to cycle through the last set of selected notes after the selected notes have
been released.Disable the Hold function by pressing the [Hold Button].
Entering an arpeggiated sequence using the note sequencing method. Press and hold
the [Edit Button]. Press keys on a MIDI keyboard one at a time to create a sequence of up
to 32 steps. Press and hold the [Edit Button], press the [Octave Up Button] to add a rest.
This note sequencing method automatically enables hold mode. To stop the arpeggiated
sequence, press the [Hold Button].
The arpeggiator can do quite a bit more! Detailed arpeggiator settings are outlined in
sections 5.14-5.20 of the manual.
RANDOM SEQUENCE FUN!! RANDOM SEQUENCE FUN!!!
Generate a randomized sequence by pressing the [ARP Button] to enable Arpeggiator
mode. Next, press and hold the [Edit Button] then press the [Hold Button]. This will
generate a sequence with a random length (1-32 steps), pseudo-random pitch values,
and random velocities. The key of the sequence is based on the last incoming MIDI note.
If no MIDI note has been played, the sequence will based on the key of C. The notes of
the sequence should mostly stick to the selected key. Major or minor will be randomly
chosen. Randomized sequences can include rests.
3 Control Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Press
Press
Hold
AUDIO OUT
MIDI IN

4.1 Oscillator Overview
The Taiga oscillators have a wide range of sonic possibilities but there are a few rules to
controlling them.
The [Shape Knob] and [Shape CV Knob] work together to determine the shape of the
waveform. The [Shape Knob] manually adjusts the shape of the selected waveform. The
[Shape CV Knob] sets the level of voltage control over the shape of the waveform. When
using the [Shape CV Knob], the [Shape Knob] acts like the offset or starting point for the
incoming CV. The LFO triangle wave is internally connected to the [Shape CV Input Jack].
Set the range of the LFO by pressing and holding the [(Edit/Arp Note) Button] and the
[Filter Mode Button].
The [Seed Button] assigns the active waveform. Each waveform except for the Pulse
wave has a warped version. The warped version of the wave is active when the LED
below the selected waveform is also lit. When Pulse and Sine LEDs are lit, both pulse and
sine waves are active.
Seed Waveform Options
1. Sine Wave [Sine LED]
2. Warped Sine Wave [Sine and Triangle LED]
3. Triangle Wave [Triangle LED]
4. Warped Triangle Wave [Triangle and Saw LED]
5. Saw Wave [Saw LED]
6. Warped Saw Wave [Saw and Pulse LED]
7. Pulse Wave [Pulse LED]
8. Sine and Pulse Wave [Sine and Pulse LED]
9. Randomly Selected Waveform [All LEDs ON]
4 Oscillator Patch Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Press
Press
Hold

4.2 Oscillator Self Modulation
This is a fun patch that can get out of hand quickly. The oscillator [FM Input Jack] is
internally connected to the [Triangle Output Jack] of the LFO. Turning the [FM Knob] sets
the amount of linear oscillator frequency modulation. Patch the [Oscillator Out Jack] into
the [FM Input Jack]. Slowly adjust the oscillator [FM Knob]. This opens up a world of
chaotic inghting between the oscillator and itself for control over the frequency. Repeat
this patch with the other 2 oscillators and Taiga turns into an unstable, rumbling beast.
The [FM Input Jack] is linear. Exponential FM is available using the [Pitch Input Jack].
Exponential FM typically has a stronger effect on the sound. An attenuated, exponential
FM patch is available in the Mixer section of this Patch Guide.
More info about the oscillator core is available in section 6.5 of the manual.
4 Oscillator Patch Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

4.3 Multi-Oscillator Modulation Loop
Build this patch in 2 steps. Start by patching [Oscillator 1 Output Jack] into the [Oscillator 2
FM Input Jack].Patch [Oscillator 2 Output Jack] into the [Oscillator 1 FM Input Jack]. This
creates a frequency modulation feedback look where adjusting the frequency or FM of
one oscillator will affect the frequency of the other oscillator and in turn affect the
frequency of itself beyond the range of the knob change. This patch showcases the
power of modular synthesis in creating sonic systems that feel alive by responding in
unexpected ways.
Patch the [Sine Wave Output Jack] of the rst oscillator to the [Sync Input Jack] of the
second oscillator. The oscillators have been designed to sync to just about any external
signal and do not require a square or pulse wave for hard sync. Adding sync to the
patch pushes the interplay between oscillators a step further. Explore this by adjusting the
FM and Pitch knobs of each oscillator.
This patch can be expanded to include a third oscillator in the loop. Patch the [Oscillator
1 Output Jack] into the [Oscillator 2 FM Input Jack]. Patch the [Oscillator 2 Output Jack]
into the [Oscillator 3 FM Input Jack]. Patch the [Oscillator 3 Output Jack] into the
[Oscillator 1 FM Input Jack]. Spend some time with the FM and Pitch knobs then add sync
between a few of the oscillators.
More info about the oscillator core is available in section 6.5 of the manual.
4 Oscillator Patch Examples

freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

5 Mixer / Preamp Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Hold
Press
5.1 Internal Routings and How to Patch Over Them
Taiga uses switched jacks to internally route signals to provide a playable instrument
without the need for patch cables. These internal connections can be patched over to
reroute the different parts of the instrument. This patch is a good example of what can be
accomplished with just a few patch cables.
Start by patching [Oscillator 1 Sine Jack] into the [Mixer Channel 2 Input Jack]. This
replaces the second oscillator in the mixer and replaces it with a clean sine wave from
Oscillator 1.
This patch also frees up Oscillator 2 for LFO duties. Disable MIDI control of Oscillator 2 by
pressing and holding the [(Edit/Arp Note) Button] and the [Oscillator 2 Seed Button]. The
output of oscillator 2 can be used as a free running modulation source.
The Taiga mixer is actually 2 mixers. The sum of channels 1 and 2 is internally routed to the
mix output of channels 3, 4, and the preamp. Patching the [Mixer 1 + 2 Output Jack]
removes it from the [Mixer Mix Output Jack].Patch [Mixer 1 + 2 Output Jack] into the
[Preamp Input Jack] and adjust the [Preamp Level Knob] and [Preamp Gain Knob] to
taste. This one patch cable reroutes channel 1 and 2 from the mixer output and instead
passes them through the preamp to add overdrive to the mix of channel 1 and channel
2. The output of the preamp is internally routed to the [Mixer Mix Output Jack].
More info about the dual mixer is available in section 7.1 of the manual.

5 Mixer / Preamp Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
5.2 Splitting the Mixer for Exponential FM
The dual mixer can be used for both audio and CV signals. This patch show how to use
the Channel 1 and 2 mixer as a CV attenuator while using Channels 3, 4 and the Preamp
for audio.
Patch [LFO Triangle Output Jack] into the [Mixer Channel 1 Input Jack]. This routes the LFO
into Channel 1 of the mixer to be attenuated using the [Mixer Channel 1 Knob].Patch
[Mixer 1+2 Output Jack] into the [Oscillator 1 Pitch Input Jack]. The oscillator pitch input is
exponential so extreme FM is possible. Patch [Oscillator 1 Output Jack] into the [Mixer
Channel 4 Input Jack]. Adjust the Mixer Channel 4 Knob to set the level of oscillator 1.
More info about the dual mixer is available in section 7.1 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

5 Mixer / Preamp Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
5.3 Feedback Mixer
The Preamp can be used to amplify external signals, overdrive internal signals, and to
create feedback loops within Taiga.
Patch [Echos Output Jack] into the [Preamp Input Jack]. Experiment with the delay time
and regeneration of the delay along with the gain of the preamp.
Any output downstream of the mixer can be used to create a feedback loop. Filter
output, dynamics output, and headphones output will all provide different results.
More info about the dual mixer is available in section 7.1 of the manual. More info about
the echos delay is available in section 12 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

5 Mixer / Preamp Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
5.3 Using the Mixer to Bypass the Filter
The mixer can be used to mix both ltered and unltered oscillators. This is a great way to
create more complex sounds.
Patch [Mixer 1+2 Output Jack] into the [Filter Input Jack]. Channels 1 and 2 of the mixer
are now sent directly to the lter. Patch [Filter Output Jack] into the [Mixer Channel 4 Input
Jack]. Channel 3 and 4 of the mixer are used to mix the ltered oscillators with the
unltered oscillator 3. Patch [Mixer Mix Output Jack] into the [Dynamics Input Jack].
This patch has a lot of areas worth exploring. One example is to experiment with using
lter and ADSR 1 to blend the ltered and unltered signals differently over time. A long
attack on ADSR 1 allows the unltered oscillator to be heard before the ltered oscillators.
More info about the dual mixer is available in section 7.1 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh filter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(filter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

6 Filter Patch Examples

6.1 The Filter is Full of Sounds
No patch cables are needed for this patch but it offers a lot of sonic possibilities. The PGH
Filter module is a voltage controlled, analog, 2 pole, 12db state variable lter. State
variable topology offers several lter output responses, highpass, bandpass, lowpass, and
notch. Select a lter response using the [Filter Mode Button]. Each response produces a
very smooth and natural sounding sweep.
Filter Response Options
1. Lowpass Filter [Lowpass LED]
2. Lowpass + Bandpass Filter [Lowpass and Bandpass LED]
3. Bandpass Filter [Bandpass LED]
4. Bandpass + Highpass Filter [Bandpass and Highpass LED]
5. Highpass Filter [Highpass LED]
6. Lowpass + Highpass Filter (Notch Filter) [Lowpass and Highpass LED]
7. Random Filter Response [All LEDs ON]
Listen to the difference of each response option using different waveforms and ADSR
settings to understand the depth of possibilities available.
More info about the PGH Filter is available in section 9 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Press

6 Filter Patch Examples

6.2 Filter Frequency Sweep Offset and More!
No patch cables are needed for most of this patch but it covers an important topic. The
frequency of the lter is controlled by 3 knobs. [Filter Frequency Knob],[Filter Freq CV 1
Knob], and [Filter Freq CV 2 Knob]. The [Filter Frequency Knob] provides manual control
over the cutoff frequency of the lter. [Filter Freq CV 1 Knob] is an attenuator internally
connected to the LFO and [Filter Freq CV 1 Knob] is an attenuverter internally connected
to the output of ADSR 1.
When using one or both of the CV inputs, the [Filter Frequency Knob] becomes an offset,
or starting point for the incoming control voltages. Experiment with the balance between
knobs to create different sounds.
cMake sure MIDI control is turned off for oscillator 3. Experiment with audio rate lter
modulation. Try using the other waveforms available from oscillator 3 with and without
MIDI control.
More info about the PGH Filter is available in section 9 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In

7 ADSR Patch Examples

7.1 The Secret Life of ADSRs
ADSRs are the unsung heroes of synthesis and don’t get the love they deserve. This page
is meant to send some love their way.
Seriously. The ADSR plays an important role in determining the overall sound and feel of
an instrument by shaping the control voltages over a period of time that manage the
lter response and amplier level of a synthesizer. Our analog envelopes are designed to
be snappy and percussive while leaving plenty of range for slower, evolving pads.
Here are a few examples of how to utilize the ADSR to its fullest potential.
Use the [Clock I/O Jack] to create a cycling ADSR. Patch [Clock I/O Jack] into the [ADSR
Input Jack]. The ADSR will not cycle at the rate of the clock. The [LFO Square Output
Jack] or oscillator pulse wave can also be used to trigger an ADSR.
Use an ADSR output as a CV source to modulate the Shape control of an oscillator. Patch
[ADSR 1 Output Jack] into the [Oscillator 1 Shape Input Jack].
This syncs the modulation of the shape with the played notes.
More info about the PGH Envelope is available in section 10 of the manual.
freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
OR

8.1 Dynamics Knob and MIDI Control
Dynamics Knob Position
Like the [Filter Frequency Knob], the [Dynamics Knob] acts as an offset or pass-through for
audio. The CV control adds to the level set by the [Dynamics Knob]. In normal operation,
the [Dynamics Knob] is typically turned full left. This allows the Dynamics to fully close and
turn off the audio signal.
MIDI Control or No MIDI Control?
MIDI control of the Dynamics section can also be a little confusing. This should clear
everything up.
MIDI Control Disabled - This is the more typical way of using the Dynamics Controller. With
MIDI control disabled, the ADSR 2 output signal is internally patched into the [Dynamics
CV Input Jack]. This allows the ADSR 2 to control the envelope of the dynamics when in
VCA, LPG, and LPG Pluck modes.
MIDI Control Enabled - The MIDI note on / off gate signal replaces the ADSR 2 output
signal internally patched to the [Dynamics CV Input Jack]. This is useful when using
Dynamics in LPG Pluck mode and relying on the [Dynamics Response Knob] to control
the decay time. This also frees up ADSR 2 to be used as a dedicated modulation source
elsewhere in the patch.
8 Dynamics Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Press
Hold

8.2 Dynamics Modes
VCA vs LPG vs LPG with Pluck?
Patch [LFO Square Output Jack] into the [ADSR 2 Input Jack].Patch [Noise Output Jack]
into the [Dynamics In Jack].
conly affects the amplitude of the audio. As the envelope opens up the Dynamics, the
sound gets louder. As the envelope closes, the sound gets quieter.
LPG Mode - This mode affects both amplitude and harmonic content. As the envelope
opens, the sound gets louder and brighter. As the envelope closes, the sound gets
quieter and darker. Resonance is also available in LPG mode.
LPG with Pluck Mode - This mode functions the same as LPG mode with the addition of a
sharp trigger generated from the [Dynamics CV Input Jack] used to pluck the dynamics
envelope. Turn down the [Dynamics CV Knob] to hear more of the pluck and fade out
the CV control. Pluck mode requires the envelope, clock, or gate source have a sharp
attack to trigger the pluck.
8 Dynamics Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In
Press

9.1 Echos Time Travel Experiments
Analog BBD delays are a great way to add depth and a sense of space to a patch. Here
are a few patch ideas that push beyond the standard dotted 1/8 note echo effect.
Chorus-esque -Set the [Delay Time Knob] to around 8 o’clock. Patch the [LFO Triangle
Output Jack] into the [Echos Time CV Input Jack]. Adjust the [Echos Time CV Knob] to add
a subtle amount of movement to the delay time. Feedback can be added using the
[Echos Regen Knob] for a denser effect.
Verb-ish -Set the [Delay Time Knob] full left. Set the [Echos Regen Knob] as far right as it
will go before self oscillation. Adjust the [Echos Mix Knob] to taste.
Low-Fi Tape Simulator - This is a favorite. Set the [Echos Mix Knob] full right. Set the [Delay
Time Knob] to around 7 o’clock. Set the [Echos Regen Knob] full left. Patch the [S&H
Output Jack] into the [Echos Time CV Input Jack]. Adjust the [Echos Time CV Knob] to add
a subtle amount of random movement to the delay time. This patch can be modied to
use half of the mixer to mix the S&H output with the LFO Triangle wave. Longer delay
times and increased modulation create a noticeable doppler effect to the pitch of the
incoming audio.
9 Echos Patch Examples


freq cv 1 freq cv 2
_
_
_
time cv
time
adsr 1 adsr 2
lfo lfo lfo
transpose
hold
m.ch
oct +
wheel
source
clock
random
arp
lfo range
glide
resonance
resp cv dyn cv
response
 pittsburgh
modular
fm
shape
pitch
shape
shape cv
pitch
fm
seed
shape
shape cv
pitch
fm
seed
frequency
osc 2
osc 1 noise
ch 2
ch1 ch 4
level
gain
1x 30x
osc 3
ch 3
attack
decay
sustain
attack
decay
sustain
shape cv
lfolfolfo
seed
release release
mode
mix
regen
   


 
  





lfo lfo
_
_
_
low pass gate
resonance
lfo
echos
preamp output
out in
time
out
main
phones
in
lfo
square
triangle
clock i/o pitch
cc/mod
gate
control
velocity
s&h
sample
noise
sample & hold
oscillator one
sine
fm
out 1
sync
pitch
shape
oscillator two
sine out 2
fm sync
pitch
shape
oscillator three
sine
fm
pitch
shape out 3
sync
mixer
1+2
mix
ch 4
ch 2
ch 1
ch 3
pgh lter mixer / splitter
adsr 1 adsr 2
in in
out
in in
out
out out
in
freq 2freq 1
in out
dynamics
out
resp
dyn
in
(lter)(mix)(pre)
hold(clk)
mode
oct -
(edit/arp note)
Audio Out
MIDI In