Pittsburgh Lifeforms SV-2

New sounds with Thru-Zero oscillators and dual signal path

With the Lifeforms SV-2, Pittsburgh Modular presents a semi-modular analogue synthesiser that realises its full potential when used with the patch sockets. The instrument can be played in monophonic, paraphonic or 2-voice polyphonic modes; it is clearly structured and, thanks to its architecture, is aimed equally at beginners and professionals. All control voltage inputs and outputs are Eurorack-compatible. Of course, the Lifeforms SV-2 also works without any patch cables connected; the blue labels on some of the controls indicate pre-wiring (normalised signal paths), which can only be used for other purposes by patching. Despite bearing a certain resemblance to the Taiga synthesiser, the Lifeforms SV-2 boasts numerous features that give it a completely unique sound.

Analogue sound generation with a particularly organic character

The two analogue oscillators are newly designed Thru-Zero Triangle-Core oscillators with extensive adjustment options. The range of waveforms includes pulse symmetry, blade, sine, triangle, sawtooth and random waveforms. These are complemented by thru-zero FM, phase modulation, linear FM and hard sync. Apart from control and modulation options, the two VCOs are identical in design. Oscillator 1 features a sub-oscillator that tracks the oscillator’s tuning by -1 and -2 octaves. This combination alone guarantees massive basslines and well-supported lead sounds. As all signal paths are normalised, Oscillators 1 and 2, the sub-oscillator at -1 octave and the noise generator are all fed into the mixer together.

The mixer includes a preamp for external audio signals at line level. This operates at high gain and is capable of really driving the input signals before they are processed by the sound-shaping elements of the Lifeforms SV-2, thereby opening up entirely new sonic worlds. The signals from the mixer and preamp can be tapped off separately.

When it comes to the filters, Pittsburgh has come up with something quite special. The multimode filters, featuring low-pass, band-pass and high-pass characteristics along with various combinations, offer the much-praised, buttery-smooth and organic sound of its in-house predecessors, plus the new Character and Drive modes. The variable overdrive provides up to 5-fold gain or 15 dB; this is noticeable not only in the level but, above all, in the harmonic saturation and resonance behaviour. The Character mode takes a path all of its own: the Warped Character mode alters the shape of a waveform without changing its harmonic content. Things get even more specialised in Warped & Rectified mode; this further alters the shape of a waveform by splitting the distorted wave in two and reconstructing it based on the remaining wave. This has a very different effect on every waveform. Each filter is followed by a classic VCA for final level control via an envelope or another voltage source.

The final element in the signal path is an analogue spring reverb effect with Tilt EQ and adjustable feedback. Characteristic of a spring reverb is the clanging, metallic sound that has been known and loved since the 1960s. The input audio signal can be adjusted from subtle and sombre to mid-range emphasised with plenty of vintage flair.

With all these possibilities, it almost seems as though the modulation sources are underrepresented. Two nimble ADSR envelopes, an open-loop sample-and-hold circuit and two voltage-controlled LFOs with triangle, square and ramp waveforms and a wide frequency range immediately catch the eye. If you bear in mind that the two oscillators and the MIDI interface are also modulation sources, and that other semi-modular synthesisers and/or a Eurorack modular system can be easily integrated, then the doors to sound exploration are wide open.