RAMPAGE USER MANUAL
Thanks for your Befaco purchase! Before you plug this module in... 1. Disconnect your cabinet from mains. 2. Triple check the power cord polarity. The colored line on the cable (pin number one) is the -12V rail. 3. If you plug the module backwards you might burn it and, unfortunately this is not covered by the warranty. 4. If you have any questions about this product please send them to: befacosynth@gmail.com -12V Introduction The Rampage is Befaco s approach to an old invention: the Serge/Buchla ramp generator. We took the idea of a patch programmable function generator/processor, put two units in the same module and tried to expand them with new funky functions and ways to combine them. IN The module is built around two voltage controlled integrators. An integrator is a device whose output signal is the time integral of its input signal. In other words (and in synthesis terms) it is something capable of limiting the amount of voltage change that can occur in a given time. OUT Integrators (also known as Lag Processors or Slew limiters) allow you to process your voltages, converting sharp square waves in ramp-like waveforms. These lovely devices can, for instance, convert a gate signal into a simple envelope, or achieve a portamento or glide effect when applied to pitch CV. Other well known application of an integrator is it s ability to low-pass filter an audio signal.
In/Out reference (1/2) 1A 5A 2A 3A 3B 2B 4A 6 4B 5B 1B 5. Shape Control (A&B) Change the integrator s response from exponential to either linear or logarithmic 6. Balance Acts as a cross-fader for the levels of the A & B outs before they go to the mix section. This parameter affects just the A>B (9),Min (10) and Max (11) outs. It doesn t have any effect on Outs A & B. 7A 8A 10 12 9 13 11 7B 8B 7. Rise Controls (A&B) This are manual controls for the rise time. Faders up = longer rise time. Given that time and frequency are related in an inversely proportional (opposite) way, as you move the faders up the frequency decreases during cycle mode or low pass filtering. 15A 16A 14A 14B 15B 16B 8. Fall Controls (A&B) Same working principle as Rise Time Controls, but these actually control fall time. 17A 18A 18B 17B 9. Comparator Out Send 10V when B out exceeds A out. 19A 20A 21A 21B 19B 20B 1. Main In (A&B) This is were you plug the signal you want to process (CV or Audio). Insert a gate into it to covert the gate signal in a AD envelope with sustain (same sustain level as your gate signal). 10. Minimum Out AKA Analog AND. Follows the minimum level present in A and B outs. 2. Trigger In (A&B) Starts the internal function generators. 3. Range Selectors (A&B) Choose between tree different working speeds: 1. High (Small dot position): Use this speed for audio rate applications and fast processing 2. Medium (Medium size dot): For envelope oriented rates 3. Low: (Big dot) For LFO like applications and loooong envelopes 4. Manual Trigger Buttons (A&B) Push to manually Initialize the internal function generators. 11. Maximum Out AKA Analog OR. Follows the maximum level present in A and B outs. Sometimes this is also refered to as a Peak Follower 12-13. A and B OutS Main output of A and B channels.
In/Out reference (2/2) 14. Cycle Switches (A&B) Choose between two modes of operation: 1. One shot: Stops when falling ramp reaches 0 Volts. Use this mode for envelope generation 2. Cycle: Function generator Re-triggers again when falling ramp reaches 0 Volts. Use this mode for wave generation (either LFOs or Audio) One shot and Cycle modes are able to re-trigger only during Falling state. In cycle Mode, the Trigger and Signal inputs can be used as hard and soft sync INs 19. Rising Gate Out (A&B) These are slope detector outs. Each time the output is rising a 10 Volt gate is present. When using the slope detector with external signals you will need to accommodate the speed of the lag processor to the speed of the incoming signal in order to avoid erratic behavior. Use the slope detector to extract gates from analog signals, to detect movement or to chain the A and B Rampage channels to generate complex functions. 15. Rise CV INs (A&B) This are remote controls for the rise time. It is the CV equivalent to the Rise fader. 16. Fall CV INs (A&B) Same as Rise CV In but for fall time. 17. Exp CV INs (A&B) Controls Rise and Fall rates at the same time. This INs react in opposite/inverse way to Rise/fall CVs. The more voltage the shorter the time. This inverted input is useful when using the Rampage as Filter or Oscillator to control either frequency or cut off. 18. Cycle Gate in Inverts the Cycle switch; When Off it turns it On and vice-versa. For extra flexibility, Cycle In doesn t trigger the rampage. It only puts it in cycle mode. If you want to trigger it and put it on cycle mode the same time (for gated LFO/VCO generation) just send your gate to the trigger IN and to the Cycle IN at the same time. 20. Falling Gate Out (A&B) Same as Rising Gate Out, but works only during fall times. 21. End Of Cycle Outs Delivers a 10 Volt short pulse each time the internal function generator reach 0 Volts. EOC Out doesn t work with external signals.
Block diagram
Some patch ideas to begin with Voltage controlled Attack Decay envelope. Ext trigger to the trigg in Out to the desired destination Attack Sustain Release Envelope. Some ext Gate>IN Out to the desired destination VCO/LFO With Square, PWM, Saw, Log, Exp and Triangle. For triangle waves keep faders at the same level and move them together to change frequency For Sawtooths put the Rise fader at minimum and use just the Fall fader to change frequency Other wave shapes can be made combining The faders with the shape control. For Square Wave use Rising/falling outs as outputs For PWM Pulse use the B>A as out and plug a voltage on IN B. In b became the pulse-with control Trigg IN acts a Sync IN Main IN acts as Soft Sync Gated VCO/LFO Mode switch on One Shot Send a gate same time to the cycle in and to the trigg IN Low Pass Filter External audio to the A or B IN Range Switch on Fast Soft syncing Low pass Filter External VCO to the A or B IN Range Switch on Fast Cycle switch on Cycle mode Complex LFO Function combination with Max/Min out is a lot of fun. Try syncing the two channels (both in cycle mode) to achieve a complex LFO If you want synced LFOs try sending the Rising/falling or EOC outs of one of the channels to the trigg IN of the other Ping Pong LFO EOC of channel A to Trigg In of channel B EOC of channel B to Trigg In of channel A Both channels on One Shot Mode Push Trigg button on one channels Use Max as out Any shape to square wave converter Wave to the A or B IN Use the Rising or falling as out Ultra-nasty Distortion Try processing your favorite music trough the rampage using the rising or falling connections as outs Polyrithmic gate generator. With both channels synced to each other via EOC or Falling/Raising Outs, it generates several complex rhythm gates on B>A Out Voltage controlled Slew limiter with independent attack and decay control and continuously variable shape between Log, linear and expo Plug the CV from a MIDI to CV converter or any other Pitch voltage source to the A or B IN. Send the out to the pitch In of a VCO and play notes making complex portamento FX Voltage controlled Trigger Delay Send a trigger to the a or B trigg In and use EOC as delayed trigger Burst Generator Generate a burst of triggers. Put both channels on One shot mode Rising out of channel B to the Cycle In of channel A Send A trigger together to A and B trigg INs Now Chanel A just repeats during the time channel B is rising the speed of channel A is the number of triggers on the burst and Chanel s B rising time is the total duration of the burst Envelope follower With adjustable response for rising and falling parts of the envelope. Plug some musical signal to the channel A In Keep Chanel B Unused Use Min as Envelope Out Adjust the faders to the desired response Also rising/falling out can act as trigger extractors VCO + Envelope + Timbral gate Chanel A as VCO (Cycle mode and range switch on High setting) Chanel B Cycle switch in One shot mode Send a external trigger signal to the channel B trigg In Use MIN as Out Comparator Distortion/mixer. Only for (Harsh noise indicts) Put two musical sounds trough the A and B channel INs. Use the comparator Out/Min/Max as mix out