Three New Cynthia Modules in Five Popular Formats

"Cyndustries.com Presents Three New Cynthia® Brand Synthesizer Modules in Five Popular Formats!

Whether you desire Euro Rack, Dotcom / Moog, MOTM, FracRak, or Modcan A-Series format additions to your electronic music studio... you'll find that our modules are aesthetically, mechanically, and electrically, compatible with a multitude of products and systems from other familiar manufacturers.
The new Density Series offers a ton of functions in a really compact space, visit our site to see FOUR FILTERS, FOUR TRANSIENTS, and The OCTAL VCA.

We are committed to making the finest and most sophisticated modules possible! This is our ninth year in business and we're just getting started!

Our brand name can be found on thousands of exotic synthesizer modules in over (35) countries, and we are presently establishing an international dealer network!

Cynthia brand modules are above all unique, useful, and of course, totally fun! Get your hands on these edgy high-precision designs, and in an instant you will know the Cynthia difference!"

The Four Filters module consists of four laboratory quality multi-mode, two-pole filters with voltage controlled cutoff and variable Q. So what's so special about them? Are they a new, cool, edgy-sounding type? No. Are they warm and fuzzy and tan and chocolatey in the mid-range? No. What's so great about them is that there are four of them. A veritable busy-box of precision filters. Now you can get way more sophisticated with your spectral shaping! (After all, doing subtractive synthesis with only one filter, is like trying to do additive synthesis with only one sine wave). Now the training wheels are off!

Each filter can be either Lowpass, Bandpass, Highpass, or Notch depending on how you pull or push the MODE knobs � like this:
OUT IN Lowpass
IN OUT Highpass
OUT OUT Notch

By patching the filters in series, or mixing them in parallel, you can obtain some very complex spectral shapes, some moving, and some fixed if you like.

Examples:

Use a single filter in Lowpass mode in the traditional way.
Off-load one of your super-expensive, jet-powered filters with one of these.
Use as pseudo lowpass gates.
Put two (or more) lowpass in series to get four-pole or steeper response.
Patch three or four in series (all hi-Q, Lowpass) to create a vocal tract (or any pipe)!
Mix a notch and two Bandpass to create a good string voicing filter.
Put a Lowpass and Highpass in series with tandem control to create Yamaha CS-80 sounds.
Mix four Bandpass together with LFO control to create a spectral animator!
Mix one or more Bandpass / Notch with some dry signal to create a parametric equalizer / fixed filter bank.
Multiple hi-Q filters struck with impulses makes complex percussion!
Put Lowpasses in series with staggered CV control to create a variable slope filter.
Formants, formants, formants.

And it bears repeating: Trying subtractive synthesis with only one filter, is like trying additive synthesis with only one sine wave! Maybe the search for that one really great filter is over. The answer doesn't lie in any single filter � you need more! A complex, moving spectrum is what entertains the ear... Here's the tool to for you to accomplish that!"


Four Transients

"Usually, having a transient hanging around isn't a good thing - let alone four of them. But in this case, it's a great thing times four! The Cynthia® brand, Four Transients module may appear very simple on the surface, but it's simple appearance belies its versatility. Face it, one thing you always come up short on is envelopes. You try using square or triangle waves from LFOs and gates when you need more, but that doesn't really cut it. It would be great if one little module could be the last word in filling this gap.

Four Transients gives you four simple, independent envelopes that can each be either the AD or AR type. In AR mode, there is an attack phase up to 5v which holds as long as the gate input is held high. The release phase returns the output to 0v when the gate falls. All very familiar, and this is probably the most general and widely used envelope type. You get four of these puppies!

However, the AD mode is something not usually seen. In a conventional ADSR unit, if the gate falls before the attack & decay phases have completed, the unit enters the release phase. This means if you have a slow attack and a brief gate, the envelope might not ever even get off the ground. This is fine if that's what you want. However, Four Transients does something different. The AD transient is self-completing. In response to the rising edge of the GATE input, the envelope goes through the entire attack and decay phases from 0v to +5v and back to 0v, no matter how long that takes. This makes it perfect for those self running, automated patches we all love to create. In AD mode, the attack cannot be re-triggered during its own phase, but is available for re-triggering during the decay phase. You get four of these!

Ins Outs and Knobs

The A knob controls the attack time in the usual way. If you pull it, all times will stretch by about 100 times for those ssssslllllllooooooowwwww events.

The D knob controls the decay time in the usual way. If you pull it, the section changes from AD to AR operation, and the knob controls the release time instead.

The GATE jack inputs any waveform and derives a gate signal from it. If it crosses above +2.5v, it's a gate.

The TIME jack accepts a control voltage that makes all times (for that section) longer or shorter. Higher voltages make things faster (just like a VCO).

The OUT jack, well, you know.

The button is for manual firing and the brightness of the LED in the button tracks the transient.

The PULSE jack (available on some units) presents a logic high signal during the attack phase of the transient. The behavior is the same in AD and AR modes. This PULSE will drop after the attack phase and not hold even though the GATE is still high.

Remember how we said that its simplicity is deceiving? Here's what else this baby can do. In addition to AD and AR modes, you can create ADSR behavior by mixing two transients together. Set one section to AD mode, the other to AR mode. Panning between the two outputs (with a simple mix or pan) varies the sustain level. Set the A's equal. When you do this, you will have simultaneous AD, ADSR, and AR signals available. You can make two ADSRs with this module!

You can create AHD envelopes as well. Patch the PULSE output of one section into the GATE of another. The A knob gives you your Hold time. The second section is set for AR operation and the knobs there will give you your A and D times. You can make two AHD generators with this module! Remember, the AHD will self-complete...

You can create a gate delay with two sections as well. Do the following: Set both transients to AR mode. The A knob on the first will be your delay (set R to zero). Patch the output of this transient to the GATE input of the second. Set A and R to zero to create instantaneous edges. This is what happens; when the input GATE appears, the first transient rises slowly from zero. When it reaches 2.5v, the second transient will fire and stay on creating a delayed gate signal. When the input GATE falls, both transients instantly fall. You can make two gate delays with this module!

Since you get Four Transients, you have enough to create a DADSR or DAHD envelope and still have one section left over!

You can extend the principle outlined above by patching more than 2 sections in series or even in loops. You can get the transients to self-perpetuate in a pseudo quadrature sort of way. Play with staggering the times and modulating the TIME jacks. Swinging rhythms await...

The PULSE output acts as a one-shot. You can use this to time events. A quick flick of the GATE, and the PULSE output remains high for a pre-determined time, controlled by the A knob, and then falls. You could plug that into something...

You can make radical, ultra snappy, hyper-sloped envelopes by feeding an OUTput back into its own TIME jack. When output values are high, the slopes will be steeper and vice versa. This is like self-modulating a VCO. The TIME jack has a huge range and responds exponentially.

How about audio uses. The transients can be made to run so fast that you can use them to process audio. Wha? Yeah, turn any signal into a stream of shaped transient pulses. Run a VCO square wave in and get a constant-time transient pulse per cycle out. Get tracking with the TIME jack if you want it. Changing A and/or D changes the timbre of the pulse, and modulating the TIME jack creates VCF-like effects. Crazy mixed waveforms in, equals crazy, confused transients out. We bet you're not used to listening directly to your envelope generators! (I guess we just broke another rule :)"

Octal VCA

"How did we know that you needed more VCAs? (every system does!) Here are eight ultra-compact linear Voltage Controlled Amplifiers that can pass either audio or control voltages throughout all of your patches...

Look Ma' No Knobs! Each channel has an activity LED to show you exactly what's happening and where. Control voltage rejection is high, and noise is low, low, low!

Each VCA operates as a unity gain channel in the zero to five volt range, however there is a doubling in gain as the control voltage approaches ten volts. Adding a little bias voltage to your control input allows you to use these either way and a special "Bury" adjustment trimmer can be set to ensure total silence with zero bleed when off.

Think of it, you'll now have essentially eight voltage controlled resistors so you can add voltage control to just about any parameter with an input jack! The possibilities are endless...

Amplitude or index modulation (tremelo), distortion, crossfades, patch changes, surround sound panning... all a piece of cake! You can patch signals in parallel or in series through several of the channels -if you really want to go wild. Treat yourself to an entire feast of patching possibilities in one compact module!"
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