The Beers Envelope Generator is a small yet versatile AD/AR envelope module, inscribed in an impressive 8HP unit, not only allows you to control the rise and fall times of the envelopes manually but also provides a secondary set of envelopes derived directly from the first, thus offering an extra dimension to your sonic experimentations.
With RC charge/discharge curves, the Beers Envelope Generator produces two envelopes, both of which have approximately 1ms to 1600ms rise time, and 30ms to 3000ms fall time. Envelope 1 is initiated by the GATE and TRIG inputs. However, what Ripple is the second envelope, as the completion of Envelope 1's attack stage triggers it.
One of the unique features this module brings to the table is that Output 3 adheres to whichever of the first two envelopes is higher at any given point, thus making it capable of crafting twin-peaked envelope shapes. The fourth envelope, 1-2, is a bipolar output, swinging negative when output 2 is greater than 1.
The Beers Envelope Generator goes beyond the capabilities of standard envelope generators with its Q and not-Q gate features. The module's in-built 'gate delay' stems from the attack times of envelopes 1 and 2. The Q remains high throughout the attack phase of envelope 2 while not-Q rises when 2 completes its attack stage.
Aside from using the TRIG input for standard Attack/Decay behavior, the Beers Envelope Generator gives users an extra layer of envelope control with the EN or Trigger Enable input. When used with TRIG, EN ensures the envelope only triggers when the signal applied to EN is also high. Not to mention, rising edges on EN also retrigger a finished envelope while the TRIG's signal remains high. By treating TRIG and EN as a logical AND-gate, this module offers increased control and flexibility over envelope triggering.
The GATE input provides an additional Attack/Release behavior to broaden your tonal palette. When GATE goes high, envelope 1 sets to Attack/rise mode, and it only resets to Release/fall when input falls low. GATE further adds to the versatility by causing envelope 2 to stay high until the GATE signal is low.
A unique HOLD function holds the charging and discharging of the envelopes, effectively freezing all output voltages. This feature can be used creatively in a performance to retain a particular envelope configuration and switch back to it when required. Though stable over short periods, keep in mind the frozen envelopes eventually drift due to leakages in the circuit.
Overall, the Beers Envelope Generator presents a creative playground for users eager to explore in-depth envelope manipulation, thanks to its array of novel features and flexibility. Efficient with power consumption, the module requires 15mA of +12V and 5mA of -12V power. For all the dynamic musicians out there, the Beers Envelope Generator is sure to spark your creativity in the world of modular synthesis.
Example Usage
Let's take a closer look at how you can utilize the Beers Envelope Generator in your eurorack setup. The envelope generator features two main envelopes with manual control over rise and fall times, two derived envelopes, and two gate outputs. Envelope 1 is controlled by the GATE and TRIG inputs, while Envelope 2 is triggered by the completion of Envelope 1's attack stage.
Output 3 follows the higher of Envelopes 1 and 2, creating twin-peaked envelope shapes. Envelope 1-2 is a bipolar output that swings negative when Envelope 2 is greater than Envelope 1. The Q gate is high during Envelope 2's attack stage, while not-Q gate activates when Envelope 2 finishes its attack stage.
The TRIG input allows for Attack/Decay behavior and accepts voltages above half a volt. EN, or Trigger Enable, acts as a logic AND-gate for triggering envelopes. The GATE input provides Attack/Release behavior, generating envelopes slightly higher than triggered peaks.
The HOLD input and toggle switch freeze all outputs when engaged, with the switch direction determining the behavior of the input signal. While the frozen envelopes remain stable for a short period, eventual component leakages may cause drift over time.
Understanding these features can help you unleash your creativity and delve deeper into AD/AR envelope manipulation with the Beers Envelope Generator.
In an INTERMEDIATE-level usage example, let's explore how you can create complex envelope shapes using the Beers Envelope Generator. Patch the output 1 into the input of a VCA controlling the amplitude of a sound source. Set the rise and fall times to medium values, and adjust the parameters to create a slow attack and fast decay envelope for a plucked string sound. Now, take the output 2 and patch it into a filter cutoff frequency input, shaping the timbre of the sound. Experiment with triggering envelope 2 in different stages of the cycle to modulate the filter cutoff dynamically.
Next, let's utilize the 1-2 bipolar output in a unique way. Patch it into a wavetable oscillator's wavetable position input, creating evolving timbral changes synchronized with the envelope's peaks and valleys. Adjust the settings to generate a rhythmic pattern that complements the rhythm of your sequence or drum pattern.
For added depth, experiment with patching the Q and not-Q outputs into a clock divider or sequencer to create intricate rhythmic patterns that evolve over time. Use the GATE input to trigger different sections of your patch, adding variation and interest to your composition.
By combining the various outputs and inputs of the Beers Envelope Generator creatively, you can sculpt complex and evolving soundscapes that push the boundaries of traditional envelope manipulation. Experiment with different patch configurations, modulations, and settings to discover unique ways to unleash your creativity with this versatile module.
Further Thoughts
For an advanced application of the Beers Envelope Generator, let's explore creating evolving rhythmic patterns by using the secondary envelope outputs in conjunction with external modulation sources. Patch the bipolar output from Envelope 1-2 into a dual VCA module with control voltage inputs. Modulate the VCA gains with an LFO or a random voltage source to dynamically shape the amplitude of the envelopes.
Next, take the gate output Q, which is high during the attack stage of Envelope 2, and patch it to trigger a percussive sound module or a modulated filter. Experiment with different triggering options and explore how the gate signals can interact with your sound sources to create intricate rhythms and textures.
Combine the Hold function with external sequencers or sample and hold modules to create complex, evolving patterns. Use the Hold input to freeze the envelopes at specific points, then modulate the Hold toggle switch with a slow LFO to introduce gradual changes over time.
By exploring these techniques and pushing the boundaries of traditional envelope manipulation, you can unlock a realm of creative possibilities with the Beers Envelope Generator. Experiment, listen closely, and let your imagination soar as you delve deep into the world of AD/AR envelope shaping.