RAMPAGE

USER MANUAL
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. -12V
4. If you have any questions about this product please send them to:
befacosynth@gmail.com

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 IN

generator/processor, put two units in the same module
and tried to expand them with new funky functions and
ways to combine them.

The module is built around two voltage controlled inte-

grators. OUT
An integrator is a device whose output signal is the time
integral of its input signal. In other words (and in synthe-
sis terms) it is something capable of limiting the amount
of voltage change that can occur in a given time.

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.
RAMPAGE USER MANUAL

In/Out reference (1/2)

5. Shape Control (A&B)
Change the integrator’s response from exponential to
either linear or logarithmic
1A 3A 3B 1B
2A 2B
6. Balance
Acts as a cross-fader for the levels of the A & B outs be-
fore they go to the mix section. This parameter affects
4A 6 4B
5A 5B just the A>B (9),Min (10) and Max (11) outs. It doesn’t
have any effect on Outs A & B.

9 7. Rise Controls (A&B)

This are manual controls for the rise time.
10 11 Faders up = longer rise time.
8B Given that time and frequency are related in an in-
8A versely proportional (opposite) way, as you move the
12 13 faders up the frequency decreases during cycle mode or
7A 7B low pass filtering.

14A 14B 8. Fall Controls (A&B)

Same working principle as Rise Time Controls, but these
15A 16A 15B 16B actually control fall time.

18A 18B 9. Comparator Out

17A 17B
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
10. Minimum Out
or Audio). Insert a gate into it to covert the gate signal in
AKA “Analog AND”. Follows the minimum level present
a AD envelope with sustain (same sustain level as your
in A and B outs.
gate signal).

2. Trigger In (A&B)
Starts the internal function generators.

3. Range Selectors (A&B)

Choose between tree different working speeds:
11. Maximum Out
1. High (Small dot position): Use this speed for audio
AKA “Analog OR”. Follows the maximum level present
rate applications and fast processing
in A and B outs. Sometimes this is also refered to as a
2. Medium (Medium size dot): For “envelope oriented”
“Peak Follower”
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 genera-
tors.
12 - 13. A and B OutS
Main output of A and B channels.
RAMPAGE USER MANUAL

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 proces-
sor 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) 20. Falling Gate Out (A&B)

Same as Rise CV In but for fall time. Same as Rising Gate Out, but works only during fall
times.
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 21. End Of Cycle Outs

Inverts the Cycle switch; When Off it turns it On and Delivers a 10 Volt short pulse each time the internal
vice-versa. function generator reach 0 Volts.
For extra flexibility, Cycle In doesn’t trigger the rampa- EOC Out doesn’t work with external signals.
ge. 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.
RAMPAGE USER MANUAL

Block diagram
RAMPAGE USER MANUAL
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 in-
dependent 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 dela-
yed 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 dura-
tion 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