Dark Energy

Owners Manual

DOEPFER MUSIKELEKTRONIK GmbH

Safety Instructions

Please follow the given instructions for use of the instrument carefully because this will guarantee
correct instrument operation. Due to the fact that these instructions touch on Product Liability, it is
absolutely imperative that they be read carefully. Any claim for defect will be rejected if one or more
of the items was observed.
Disregard of the instructions can endanger the two years warranty.
 
The instrument may only be operated with the voltage written on the power input on the rear panel. Before
opening the case disconnect the power plug and power adaptor.

All eventual modifications must only be carried out by a qualified person who will follow the valid safety
instructions. With the introduction of a third person the warranty will be lost. In case of a destroyed warranty
seal, any warranty claim will be rejected.

The instrument must never be operated outdoors but in dry, closed rooms. Never use the instrument in a
humid or wet environment nor near inflammables.

No liquids or conducting materials must get into the instrument. If this should happen the instrument must
be disconnected from power immediately and be examined, cleaned and eventually be repaired by a quali-
fied person.

Never subject the instrument to temperatures above +50° C or below -10° C. Before operation the instru-
ment should have a temperature of at least 10 øC. Do not place the instrument into direct sun light. Do not
install the instrument near heat sources.

Keep the top side of the instrument free in order to guarantee proper ventilation, otherwise the instrument
could be overheated.

Never place heavy objects on the instrument.

Transport the instrument carefully, never let it fall or overturn. Make sure that during transport and in use
the instrument has a proper stand and does not fall, slip or turn over because persons could be injured.

Never use the instrument in the immediate proximity of interfering electronic devices (e.g. monitors, power
supplies, computers) since this could create disturbances within the MS-404 and corrupt memory data.

The instrument should only be shipped in the original packaging. Any instruments shipped to us for return,
exchange, warranty repair, update or examination must be in their original packaging! Any other deliveries
will be rejected. Therefore, you should keep the original packaging and the technical documentation.

The instrument may only be used for the purpose described in this operating manual. Due to safety rea-
sons, the instrument must never be used for other purposes.

When using the instrument in Germany, the appropriate VDE standards must be followed. The following
standards are of special importance: DIN VDE 0100 (Teil 300/11.85, Teil 410/11.83, Teil 481/10.87), DIN
VDE 0532 (Teil 1/03.82), DIN VDE 0550 (Teil 1/12.69), DIN VDE 0551 (05.72), DIN VDE 0551e (06.75),
DIN VDE 0700 (Teil 1/02.81, Teil 207/10.82), DIN VDE 0711 (Teil 500/10.89), DIN VDE 0860 (05.89), DIN
VDE 0869 (01.85). VDE papers can be obtained from the VDE-Verlag GmbH, Berlin.

2
 DOEPFER

Dark Energy
Owners Manual

Content:

1. Introduction
1.1. Preface………………………….... 4 3.4. Linking / Stacking of several
1.2. Preparations……………………... 5 Dark Energys…………………… 25
1.3. Check it out………………………. 6 3.5. Modifications……………………. 25
3.6. Firmware-Update………………. 25
2. Overview……………………………………. 8
4. Basics of Soundgeneration…………… 26
3. Functionality
3.1. Signalflow……………………….. 10 5. Example Sounds………………………….31
3.2. The Modules
3.2.1. VCO……………………... 12 6. Addendum
3.2.2. VCF………………………..14 Service and Terms of
3.2.3. VCA………………………. 16 Warranty……………………………... 43
3.2.4. ADSR…………………….. 17 Impressum.……………………..…... 43
3.2.5. LFO1 and LFO2…………18

3.3. USB/MIDI Interface

3.3.1. Connection /
MIDI Channel……………. 19
3.3.2. MIDI to CV Interface……. 20
3.3.3. Learn-Mode /
MIDI-Functions………...... 21
3.3.4. Reset…………………….. 24

3
DOEPFER Dark EnerGy Introduction

1. Introduction

1.1. Preface

Welcome to Dark Energy. As you expect without any doubt, your recently purchased Dark Energy is not
a tool for space research, neither suitable for astrophysical studies. Nevertheless we find these topics as
fascinating as music technology – reason enough to celebrate Hubble & Co‘s amazing discoveries a bit and
to call our brandnew synthesizer Dark Energy.

Doepfer says „Thank You!“

First of all we would like to thank you for purchasing Dark Energy! We really appreciate your decision and
promise you an exemplary support, including useful information, easy service and innovative product deve-
lopement. Hopefully, your Dark Energy will be an importand source of creative power for a long time.

What‘s that?
Dark Energy is a monophonic analogue synthesizer with USB- and MIDI interface. The entire soundgene-
ration as well as all it‘s modulationsources are 100% true analogue. Only the USB/MIDI interface uses, of
course, digital components. Dark Energy is housed in a rugged black steel case with wooden sidepanels.
Only high quality potentiometers with metal shafts are used. Each poti is screwed to the chassis. The space
between the knobs ist larger as with the A-100 modular system and we used knobs with a neat vintage
look. So Dark Eneryg is as beautiful to see as to hear and well made for extensive live tweaking. You get all
the advantages of a true analogue soundgeneration as well as direct access to all soundparameters – for-
get about confusing menues and small sized displays. Nevertheless Dark Energy is a modern soundgene-
ration tool and, thanks to it‘s built in MIDI/USB interface, it can easily be linked to every modern computer
based studio or live setup. Hooking up Dark Energy to classic analogue vintage equipment or to a Doepfer
A-100 modular system is also easy.

R.t.f.m.!
We guessed it: User manuals are your first choice in literature. Congratulations – we talk the same langua-
ge! If you might have any doubts about the entertaining qualities of this manual, please consider that it‘s
study will become quite useful, since it will highly increase the entertaining qualities of your new synthesi-
zer. So please do us – and yours – a big favour: Read (and understand) the f... manual. Thank you!

In the first section you will find all neccessary information to hook up Dark Energy into your setup. Next to
this you will find a brief overview of it‘s functionality. Synthesizer experts may use this as a quickstart guide.
Nevertheless you should not miss the complete description of the entire functionality in the next chapter
– Dark Energy hides some interesting features. Next to this, you will find useful soundsetting examples. If
synthesizer technology and the secrets of subtractive soundgeneration might be totally new to you, please
check out „Basics of soundgeneration“ in the back of this manual.

Enough talk – here we go...

4
DOEPFER Dark EnerGy Introduction

1.2. Preparations

When you first put Dark Energy out of the box, please check if everything is complete. You will find the
following components in the box:

• Dark Energy Synthesizer

• Power adapter 12-15V AC/min. 400mA
• Instrument cabel with 3,5mm and 1/4“ plugs
• USB cabel (A-B type)
• Two A-100 patch cabels
• This owners manual

You will also need:

• A suitable audiosystem (mixer, amplifier, speaker or keyboard amp)

To run Dark Energy via MIDI-DIN socket you will also need:
• A MIDI cable to connect suitable a MIDI controlling device / keyboard / computer and Dark Energy.
• A MIDI-keyboard and / or computer with suitable MIDI sequencer application

To run Dark Energy via CV/Gate connections you will also need:
• At least two 3,5 mm plug patch cabels and a suitable sequencer (e.g. the Doepfer sequencer module
A-155) or a CV/Gate keyboard (e.g. the Doepfer model A-100).

Setup:
Use Dark Energy in a lying or stand up position. Please use a suitable support. The wooden sidepanels can
be dismantled in order to connect two or more units mechnically to one big device. More information on this
can be found later in this manual.

Connections:
To run Dark Energy, you do not need necessarily all it‘s built in sockets. For a basic setup, you will need just
the ones shown in the picture below. Make use of the additional connection facilities and you will expand
Dark Energy‘s sonic capabilities a lot. They will be described together with the corresponding modules later
on in this manual.

Computer
with
Software-Sequencer

MIDI-Keyboard / Sequencer

USB MIDI Out

Power-
Adaptor
12-15V AC
USB MIDI In min. 400mA
Wall-Outlet
DARK ENERGY DOEPFER
5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up half low
3 7 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 5 5 Decay
4 FM Source
4 XFM Source Source
4 AM 4 6
3 7 LFO1 LFO2 LFO1
3 7 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low
3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low
3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

Instrument-
Cabel with
1/4“-Plug Amp or Mixer

5
DOEPFER Dark EnerGy Introduction
• Power supply:
Connect the included power adaptor to the 15V AC socket in the rear panel of Dark Energy.
Importand: Only use this power adaptor or an equal one with exactly the same specs!
A powersupply via USB is not possible since the internal analogue circuits of Dark Energy run with +/-12V.
If two or more units run in parallel, each units needs it‘s own power supply with power adaptor. If there will
be a demand, we may consider offering a bigger power adaptor with several connections.

• USB:
Connect Dark Energy‘s USB socket to your computer. Any configuration work or driver installation is not
needed.

• MIDI:
To run Dark Energy in a conventional MIDI setup without USB, please connect Dark Energy‘s MIDI-in so-
cket to the MIDI-out socket of your MIDI controller device (e.g. masterkeyboard, synthesizer, sequencer).
The default setting of Dark Energy‘s MIDI channel is Channel 1. Changing this setting is described on
page 19 in the chapter „USB/MIDI interface“.

• Audio:
Connect the Audio output socket on Dark Energy‘s frontpanel to the audio input of your mixer, amp, etc.
Please use the included connection cable.

• CV/Gate:
To run Dark Energy with a CV/Gate sequencer / keyboard, you have to connect at least Gate- and
VCO F sockets. Gate triggers the notes, VCO F determines the pitch of the notes. Using additionally
VCO PW, VCF F and VCA A connections, Dark Energy‘s corresponding soundparameters can be
controlled dynamically via control voltages. More on this topic later on in this manual.

1.3. Check it out

Please bring all frontpanel controls to it‘s basic setting as shown in the picture below. The default MIDI
channel setting is 1 and should not be changed at this moment.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

6
DOEPFER Dark EnerGy Introduction
As soon as the power adaptor is connected, Dark Energy is powered on. The LEDs in both LFO sections
should now light up and toggle between red and green. The LED on the back panel should flash for approx.
2 seconds and light up permanently.

First contact:

Turn the volume control of your amp / mixer fully OFF, BEFORE powering it up. Turn up volume control of
your mixer / amp slowly and play a note on your keyboard. You should now hear a static tone. Choose a
comfortable volume. And now – Ladies and Gentlemen, have a warm welcome to Dark Energy!

The currently generated sound depends on the setting of all knobs and switches. It will be most easy to
create musically useful patches, if you start at this basic setting and „compose“ your sounds step by step
from that point on.
We will now take a brief look at Dark Energy‘s sound generation and sound manipulation modules.
A detailed description of all functions follows later on.

Now that you brought all knobs and switches into their basic settings, you will hear a simple and static tone.
The oscillator generates a simple squarewave, that is audible at the audio output, yet without being manipu-
lated in any way. Now move the VCO tune knob and the octave switch. You can control the tuning and the
pitchrange of the tone.
As soon as you crank up the FM knob, you will notice an „automatic“ change in tuning: LFO1 is selected as
a modulation source and it‘s control voltage generates a periodic change in tuning, resp. VCO frequency.
Now turn the LFO1 Freq. knob. You will hear a change in the modulation speed resp. LFO1 frequency.
Now let‘s take a brief look at the filter section (VCF): Turn it‘s Frq. knob slowly counterclockwise. You will
hear the sound becomming more and more „dull“ until it gets inaudible. Now turn the Freq. knob in 12
o‘clock position and crank up the XM knob slowly. You will hear a periodic modulation of the timbre, done
by LFO2. Again, you can alter the modulation speed with the LFO2 Freq. knob. Play a couple of notes and
change the settings of the envelope section. You wil notice a change in the loudness contour of the notes. If
you switch the Source switches in the VCO and VCF section into the ADSR position (the knobs FM and XM
have to be cranked up at least to 10 o‘clock position), the envelope will control not only loudness but also
pitch and timbre.

Please note:

Dark Energy‘s parameters mostly interact with each other. That means, there are often more than just one
way to achieve a specific result. In other words: To enable a certain parameter to generate a wanted result,
it might by necessary to set other parameters into a specific setting. This might be a bit confusing from time
to time. An example: If the ADSR‘s sustain knob is set to it‘s maximum, turning the decay knob will not have
any influence to the sound. All the ADSR controls will not have any influence to the timbre of the sound, as
long as the Source switch of the VCF section is set to LFO2. The same goes for the Source switch in the
VCA section. To make use of Dark Energ‘s full sonic potential, it is importand to understand these interac-
tion of parameters. Please do not get worried – explore systematically each parameter and it‘s interaction
with others. You cannot do anything wrong.

If analogue soundsynthesis is totally know to you, please refer to the section „Basics of Soundgeneration“
in this manual.

7
DOEPFER Dark EnerGy Overview

2. Overiew
Dark Energy‘s architecture ties up with a classic monophonic modular synthesizer. It‘s signal paths are
wired internally, thus Dark Energy is very compact and easy to use. The most importand modulation paths
can be set via toggle switches, additional sockets deliver control voltages and allow the connection of
external modulation sources. The internal MIDI/USB interface allows the easy use within a MIDI setup.
Dark Energy can also be used as a MIDI to CV/Gate interface.

triangle waveform based VCO 24 dB lowpass VCF VCA

- tuning knob - cutoff knob (freq.) - amplitude knob
- range switch -1 / 0 / +1 octave - tracking switch half / off / full - AM (amplitude modulation) knob
- FM (frequency modulation) knob with selectable (internally connected to the VCO control with selectable modulationsource
modulationsource (LFO1 / off / ADSR) voltage) (LFO1 / off / ADSR)
- pulswidth knob for squarewave - XM: exponential frequency modulation
- PWM (pulswidth modulation) knob with selectable knob with selectable modulationsource
modulationsource (LFO1 / off / ADSR) (LFO1 / off / ADSR)
- waveform switch (saw / off / triangle) - LM: linear frequency modulation knob; ADSR
modulationsource is the VCO‘s - knobs for Attack,
The sum of the squarewave signal and the waveform trianglewave (resp. the VCF gets linear Decay, Sustain and
selected with the waveform switch is fed into the audio FM from the VCO with adjustable Release
in of the filter module (to disable the squarewave both intensity) - range switch long / short /
PW- and PWM-knobs have to be turned fully counter- - resonance knob (up to selfoscillation) medium
clockwise). - blue LED for envelope
activity

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0

Decay
10
LFO1 and LFO2
5 5 5
- frequency knobs
FM Source XFM Source Source AM
4 4 4 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

- waveform switches (triangle / off /
1 9
ADSR
1 9
ADSR ADSR
1 9 1 9 square)
0 10 0 10 0 10 0 10
- range switches: low (up to several
LFO1 Frequ. Sustain
minutes per cycle) / audio (up to
5 5
4 PW Shape 4 LFM Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
5 kHz) / medium (normal LFO range
high

2 off 8 off 8 2 8

1 9 1 9
medium
1 9 1 9 from some seconds up to several
0 10 0 10 0 10 0 10
10th hertz)
LFO2 Frequ. Release
- dual LEDs yellow/red show positive
5 Source 5 Res
4 PWM 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
and negative halfs of the LFO waves
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

VCO CV inputs audio output

- VCO frequency (1V/octave)
- pulswidth of squarewave
ADSR CV output
VCF CV input
- VCF frequency (1V/octave) LFO1 CV output
(inverted)
VCA CV input
- VCA amplitude

gate input

audio input
(the connected signal is
mixed into the VCF input)

8
DOEPFER Dark EnerGy Overview

DOEPFER DARK ENERGY

ANALOG SYNTHESIZER
Outputs
15V AC (Audio Out)
400mA CV4 CV3 CV2 CV1 Gate Learn Midi In USB

power supply
(12-15V AC, min. 400mA)

CV outputs USB
CV1: controlled by MIDI note messages, 1V/octave, 0...+5V (for MIDI via USB)
(internally routed to the VCO frequency input)

CV2: controlled by MIDI pitchbend data (centered approx. MIDI input

-2,5...+2,5V or positive 0...+5V, userselectable via internal
jumper, no fixed internal routing; can be connected via patchcord
with e.g. the control voltage input of the VCO or VCF) Learn button

CV3: controlled by MIDI velocity data (0...+5V, no fixed internal

routing; can be connected via patchcord with e.g. the control
voltage input of the VCF or VCA)

CV4: controlled by MIDI control change messages, learn mode

for setting of controller number (0...+5V, no fixed internal routing;
can be connected via patchcord with e.g. the control voltage
input of the VCF or pulswidth input of the VCO)

gate output
(with LED, also for learn
function), 0/+5V

9
DOEPFER Dark EnerGy Functionality

3. Functionality
In this section, we will explore all of Dark Energy‘s modules and functions in detail. We will also have a
close look on the modules interaction and finally the MIDI functionality.

3.1. Signalflow

Envelope
Gate Signal
Generator
(ADSR)

Envelope Control Voltage

USB
Audio Audio Audio
MIDI / CV Oscillator Filter Amplifier
Interface (VCO) (VCF) (VCA)

MIDI In Audio
Output
LFO Control
Pitch Control Voltage
Voltage
CV 4 CV 3 CV 2 CV 1
Low Frequency Low Frequency
Oszillator 2 Oszillator 2
(LFO2) (LFO1)

The figure above shows a brief overview of Dark Energy‘s signalflow.

The darker coloured boxes show all modules that generate or process the sound resp. the audio signal.
They are labelled VCO, VCF and VCA and form the audiopath. The light grey boxes are control modules.
Instead of audiosignals, they generate control voltages, which modulate the audiomodules. The envelope
generator can send control voltage to VCO, VCF and VCA, the low frequency oscillators (LFO1 and LFO2)
can send their control voltages to both oscillators and to the filter (LFO2) resp. the amplifier (LFO1).

The MIDI to CV/Gate interface „translates“ incomming MIDI data into control voltages that can be accessed
at the sockets CV 1 – 4. CV 1 is also fed into the VCOs input to control the oscillator pitch. Next to this, the
MIDI to CV/Gate interface generates a gate signal which triggers the envelope and starts a tone.

The figure on the following page shows the complete signalpath in all it‘s beauty. Users with some techni-
cal skills may easily reenact all routings. All inputs and outputs, knobs and switches as well as all internal
submodules, such as adders and inverters, are shown in the grafics.

The functionality of all moduls is described in the following section from page 12 on. A more general and
easy to understand description of the basics of analogue sound generation can be found in section 4
„Basics of Soundgeneration“.

10
 Adder
Frequ.
Adder VCO VCF adder
Tune Frequency Frequency Amp.
tune
range Control LFO2 XFM Control VCA
(JP4)
off Exponential
Section ADSR
Section
up
Frequency LFO1
Source AM
DOEPFER

Octave down Control off amplitude

VCF F ADSR control
full
LFO1 FM Source
off
off
half
ADSR 1/2 VCA A
Source Track
LFM Linear
Frequency
(JP2)
Control
(JP12)
Audio Audio Audio
VCO F Outputs In Out Output
Adder Shape Adder Inverter
off
PW (JP7) (JP8)
Audio Audio -1 LFO1
In Out Output
LFO2 PWM
off Rectangle Ext.
ADSR Audio
Source Pulsewidth Res
Resonance Envelope
Control Resonance
VCO PW Control
Section Control (ADSR)
Section
Envelope Envelope
Attack Out Output

11
LFO1 LFO2 Decay

Frequ. Frequ.
Sustain
Dark EnerGy

low
low Range high
Range high medium
medium
Shape Shape Release

low
Range high
medium
USB/Midi Interface
Gate
Gate/ (JP3)
USB
Learn

Midi In Gate
Toggle Switch
CV1 (Note)
Learn Rotary Control (Potentiometer)
Momentary Push Button
CV2 (Pitch B.)
Miniature Jack Socket
link option Midi Socket
CV3 (Vol./Vel.)
Miniature Jack Socket with Switching Contact
DOEPFER

glide option USB Socket

CV2 (Ctr./Vel.)
Dark Energy

LED Display
Internal Connector / Jumper
Functionality
DOEPFER Dark EnerGy Functionality

3.2. The Modules

3.2.1. VCO

The VCO, or alternatively the external audio input, is the source of Dark Energy‘s „raw“ soundmaterial. The
VCO provides the basic waveforms triangle, sawtooth and square with variable pulswidth. The module has
modulation inputs for frequency (pitch) and pulswidth. The frequency range covers approx. 10 Hz to
12 kHz.

The VCO provides the following controls:

• Manual tuning knob

This knob is used for sharp or flat finetuning of the pitch. An internal jumper selects the
range between approx. +/- 1/2 octave or +/- 2,5 octaves. The default setting is +/- 1/2
octave.

• Range switch -1 / 0 / +1 octave

This switch selects the tuning range.

• FM (frequency modulation) knob

This knob is located in the pitch control input of the VCO. It adjusts the pitch modulati-
on depth of a selected modulation source (LFO1 or envelope/ADSR). This knob uses
an exponential characteristic to achive a higher resolution in the lower pitchrange.

• FM Source switch
This switch selects the frequency modulation source of the VCO. The choices are
LFO1, envelope (ADSR) or no source (off). The ADSR generates an „one shot“ pitch
contour, which is characteristic for e.g. certain drum- and percussion-sounds. LFO1
forms a periodic and continous modulation. Low LFO1 frequency settings will result in
vibrati. If LFO1 runs in the audiorange (high), the VCO generates very noisy textures.

• Manual Pulswidth knob

This knob changes the pulswidth of the square signal. Altering the symetry of the
waveform from square to sharp peaks changes it‘s harmonic content and thus the
timbre of the signal. In center position, the VCO provides a rectangular (square) signal
(a). Turning clockwise resp. counterclockwise first narrows the pulses until, at it‘s extre-
me positions, the VCO stopps oscillating and no pulswave signal is audible.

• PWM (Pulswidth modulation) knob

Modulating the pulswidth provides very interesting textures. This knob is located in the pulswidth control
input of the VCO.
It adjusts the pulswidth modulation depth of the selected modulation source (LFO2 or envelope/ADSR).
With high modulation depths and/or narrow pulswidth settings (manual pulswidth knob close to fully clock-
wise / fully counterclockwise), the modulation depth might exceed the maximum value of the pulswidth
range and the waveform will break down. As a result, you will hear dropouts in the audiosignal. This is
normal and can be used creatively as an interesting „gate“-like effekt.

c
a b

1 /f 1 /f

12
DOEPFER Dark EnerGy Functionality

• PWM Source switch

This switch chooses the source of the square wave‘s pulswidth modulation. The switch toggles between
LFO2, envelope (ADSR) and no source (off). The ADSR generates an „one shot“ pulswidth modulation,
LFO2 forms a periodic and continous modulation. Low LFO2 frequency settings will result in „wide“ and
„lush“ textures which are very useful for huge pad sounds. If LFO2 runs in the audiorange (high), the VCO
generates noisy textures that will differ sonically from FM-effects.

• Waveform switch (saw / off / triangle)

Next to the squarewave, the VCO generates a triangle- and sawwave. The sum of the squarewave sig-
nal and the waveform, selected with the waveform switch, is fed into the input of the filter. To disable the
squarewave, move the PW-knob in fully clockwise or fully counterclockwise position and shut off PWM by
turning the PWM knob into fully counterclockwise position. Now, only the saw- or triangle wave is audible,
depending on the setting of the waveform switch.
To disable the VCO completely, set the waveform switch into off-position, the PW knob into fully clockwise
or counterclockwise position and the PWM knob into fully counterclockwise position. Use this setting, if you
e.g. want to feed an external audiosignal into the filter of Dark Energy.

• VCO F Input
Usually, the VCOs internal pitch CV input is connected to the output CV1 of the built in MIDI/USB interface.
This VCO-input uses the standard 1Volt/Octave scaling which is commen for most of all analogue synthesi-
zers. This enables you to play Dark Energy just like any other keyboard instrument with temperated tuning
resp. in half tone steps. You do not have to scale or tune anything.
In case you want to use Dark Enery without MIDI, but connected to a CV/Gate sequencer or a Doepfer
A-100 modular synthesizer, you will make use of Dark Energy‘s CV-inputs. The VCO F socket provides an
external CV-input for the VCO frequency (tuning). As soon as you plug in a cable, the VCOs pitch is cont-
rolled via this input.
Please note that this socket is not normalised. This means that the connection between the MIDI/USB
interface and the VCO is not disabled when a cable is plugged in. The external CV is added to the value,
provided by the MIDI/USB interface. This is very useful to e.g. transpose a sequence, which is played by an
A-155 stepsequencer, with the help of a MIDI/USB keyboard in realtime.
Instead a CV/Gate sequencer or a keyboard, you may also use any other suitable CV or even audiosignals
as modulation source.

• VCO PW Input
If you wish to control the pulswidth of the squarewave signal with an external CV, use this input socket. A
change of 5 Volts covers the entire modulationrange.

If an external control voltage might not fit to the specifications of the Dark Energy‘s CV inputs (VCO F,
VCO PW, VCF F, VCA A, ext. Audio), resp. it is too high or too low, please use an external attenuator (e.g.
Doepfer A-183-1) or amplifier (e.g. Doepfer A-183-3). These additional modules can easily be housed in a
Doepfer A-100 Minicase.

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DOEPFER Dark EnerGy Functionality
3.2.2. VCF

Filters are a very importand tool in every analogue synthesizer. Filters modify sounds by rejecting some
frequencies while allowing others to pass through in order to manipulate the harmonic content of the sound.
There are different types of filters; the most common and most musically useful filter type is the 24 dB ‘low-
pass’, which is used in Dark Energy. According to this termination, a lowpass filter passes all frequencies
below the so called „cutoff frequency“ and rejects frequencies above the cutoff. This point can be controlled
by a knob or modulated by a control voltage in order to achieve dynamic timbres.
Another importand filter term is ‘resonance’. The resonance function emphases the overtones (or harmo-
nics) close to the cutoff frequency. The sound becomes more and more „sharper“. At a certain level, the
filter starts to self oscillate and generates a waveform close to a sine wave. Dark Energy‘s VCF can also
be driven into self oscillation in oder to use it as an additional signal source to provide certain, very popular
sound effects.
CV

Attenuation
Resonance

0 db

O ut O ut
fc
fc

F r eq. F r e q.
Frequency
fc

Thecutoff frequency of alowpass filter de- TheResonance

resonance characteristics
changes of a lowpass
the filter characteristics
pending on the control voltage filter

The VCF provides the following controls:

• Manual frequency knob (Freq.)

This knob manually controls the cutoff frequency of the VCF. In other words you
„open“ and „close“ the pass-through „window“ of the filter. At fully clockwise position,
the filter is completely opened and the entire frequency range of the incomming signal
is passed through. At fully counterclockwise position, the filter is closed so far, that all
audible frequencies are rejected and no output signal is audible. The entire frequency
range of Dark Energy‘s filter covers approx. 12 octaves. The more this knob is turned
into clockwise direction, the smaller is the effect of the envelope (ADSR) to the sound.

• XM knob
In order to achieve dynamic and periodic changes in timbre, the cutoff frequency
can be modulated via control voltages. The XM knob sets the modulation depth. Set
fully counterclockwise, no modulation appears, while fully clockwise position means
maximum modulation depth. The modulation depth is added to the setting of the
manual frequency knob. Since the sum of both cannot exceed the maximum value of
the cutoff parameter range, the setting of the „Freq.“ knob influences the modulation
depth: The higher it‘s setting, the lower the effect of the XM knob to the sound. The
XM function uses exponential frequency modulation.
In some cases, the FM has to be controlled in a very fine way, especially when the fil-
ter is self oscillating (resp. working as a sinewave oscillator) and modulated by LFO2
in the audiorange. In order to optimize the parameter scaling, the XM knob works in
an exponential way. Thus, audible modulation might need settings above „5“, espe-
cially when using the ADSR as a modulation source.

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DOEPFER Dark EnerGy Functionality
• XM Source switch
This switch selects the source for exponential modulation of the cutoff frequency. The switch toggles bet-
ween LFO2, envelope (ADSR) and no source (off). Controlling the cutoff frequency with the ADSR is one
of the most commen modulations, since it provides simulation of the typical characteristics of most acoustic
instruments timbres from bright to dull. Of course Dark Energy‘s envelope generator provides much more
ways to shape the timbre.
LFO2 forms a periodic and continous modulation. Low frequencies provide vibrati in timbre. Using the LFOs
high range, XM generates very noisy sounds that cannot be played tonally. This way of modulation is great
for unique and interesting soundeffects. Feel free to experiment with the settings of cutoff frequency, LFO2
speed and XM knob.

• LM knob
This knob sets the modulation depth of the linear frequency modulation - a very special feature on analogue
synthesizers. Modulation source is always the VCO trianglewave signal. In contrast to exponential FM,
linear FM allows tonally playable sounds, as long as VCF cutoff and VCO signal run in certain frequency
proportions. Highly interesting sounds can be achieved with the selfoscillating filter (high resonance set-
tings). Feel free to experiment with cutoff frequency, resonance, VCO tuning and LM knob setting. Please
note that even small parameter changes can result in drastic new timbres.

• Resonance knob (Res)

This knob sets the resonance intensity of the filter. This effect depends a lot on the cutoff setting and is
most intense at Freq. knob settings between 1 and 5. At high resonance settings, the filter starts to self
oscillate and generates a waveform close to a sine wave. It can be used as an additional signal source to
provide certain popular sound effects, e.g. typical synthesizer percussion sounds when the cutoff is modu-
lated with a suitable ADSR setting.

• When the filter is self oscillating (high resonance) and the VCO is disabled (waveform switch in center po-
sition and PW knob in fully clockwise or counterclockwise position), the filter runs as a sinewave oscillator
and can be linear modulated by the VCO and exponential modulated by LFO2 at the same time! The VCO
frequency can follow the filter cutoff. Very complex sounds are possible.

• Tracking switch
The tracking switch has the positions „half / off / full“. It determines, if or how much the filter cutoff depends
on the played notes (resp. VCO pitch). When set to „full“, higher notes sound more and more brighter, lower
notes more and more dull. This fits to the typical character of acoustic instruments. When set to „half“, this
effect is weaker. If the filter is self oscillating and should be played tonally as an oscillator via MIDI key-
board, this switch has to be set to „full“. So it recieves the same control voltage as the VCO. This setting is
also useful when linear frequency modulation (LM) is used with the self oscillating filter.

• VCF F Input
To modulate the filter cutoff frequency with an external control voltage or an external audiosignal, please
use this socket. This input also uses an (exponential) 1V/Oct scaling. So the self oscillating VCF can be
played (almost) tuned in half tones (the scaling is not as precise as the VCO because of technical reasons
but much better as found in many other analogue synthesizers). The control voltage fed into this input is
added to the internal CVs (Freq. knob, tracking switch, XM knob). Please note, that the sum of these CVs
cannot exceed the maximum value of the modulation depth range.

• Ext. Audio Input

It can be very interesting and musically useful to process external audiosignals, such as acoustic instru-
ments, drumloops or even complete tracks, with the components of a synthesizer. You guessed it – Dark
Energy offers an input socket for external audiosignals, that can be used as a sound source next to the
VCO signals. Signals connected to this socket are fed directly into the filter. The input is mono and proces-
ses levels up to 1Vpp without distorsion.

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DOEPFER Dark EnerGy Functionality
When using an external audiosignal please note: To disable the VCO, put the waveform switch to „off“
(center position), move the PW-knob in fully clockwise or counterclockwise position and shut off PWM by
turning the PWM knob into fully counterclockwise position. To make a connected audiosignal audible, Dark
Energy‘s VCA has to be opened. Crank up the VCA knob and / or play a note on your keyboard, which will
open up the VCA via gate signal and ADSR control voltage. Of course you can use the external input and
the VCO in parallel. So you may add a second VCO (e.g. Doepfer A-110, controlled by the CV1 socket)
or a noise generator (e.g. Doepfer A-117 or A-118) as an additional soundsource.

3.2.3. VCA

The VCA provides dynamic control over a third importand parameter – the loudness. A VCA is a voltage
controlled amplifier. Dark Energy‘s VCA is somewhat special: It‘s characteristics are exponential from
approx. –90 dB to –20 dB and linear between –20 dB and 0 dB. This results in a different and musically
more useful behaviour compared to ordinary VCAs.

The VCA provides the following controls:

• Amplitude knob
This knob controls the level of the outputsignal initially independent from the ADSR /
LFO1 controls. If only this knob is cranked up, you will hear a static tone, not yet
influenced by the envelope or LFO1 settings.

• AM knob (amplitude modulation)

This knob adjusts the loudness modulation depth of a selected modulation source
(LFO1 or envelope/ADSR). Please note: Above the center position the modulation
depht decreases again. The highest output level with maximum dynamics can be
achieved in settings around the center position. The reason for this effect is: The
maximum amplification of the VCA is factor „1“. The AM knob value is added to the
amplitude knob value. If the sum of the control voltages becomes greater then „1“,
they get „compressed“ or „flattened“. This results in a new and different envelope- or
LFO shape with reduced dynamics and – if LFO1 is selected as modulation source
and AM knob is set above 7-8 – in a trapezoid shaped voltage contour. To achieve a
symmetrical LFO modulation, the amplitude knob should be around its center setting.
So, next to the modulation intensity, the VCA knobs can also be „abused“ to shape the
modulationcurve to a certain degree.

• AM Source switch
This switch selects the source for the amplitude modulation of the VCA. The switch toggles between LFO1,
envelope (ADSR) and no source (off). The ADSR as AM source provides a „one shot“ loudness contour.
This modulation – you may remember the filter section – is one of the most importand standarts in sound-
synthesis, since it simulates the typical characteristics of the loudness contour of acoustic instruments from
loud to soft. LFO1 again generates periodic modulations. Low LFO1 frequency settings will result in tremoli.
If LFO1 runs in the audiorange (high), AM generates noisy textures.

• VCA A Input
This socket provides an input for external CVs to control the VCA amplitude. This socket is normalised, that
means that a plug disconnects the ADSR or LFO1 from the VCA control input in place of the external CV.
The modulationdepth is again controlled with the AM knob. This input processes signal levels between 0
Volt and +5 Volt.
Again, this CV is added to the internal CV provided by the AM knob.

• Audio Output
Here you can pick up Dark Energy‘s output signal. Maximum level is approx. 1 Vpp.

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DOEPFER Dark EnerGy Functionality

Up to this point we studied modules that generate or process the audiosignal itself. The following modules
generate control voltages in order to modulate the soundforming parameters of VCO, VCF and VCA in a
dynamic way.

3.2.4. ADSR
Attack Decay Release
Time
Dark Energy‘s envelope generator (or „ADSR“) forms a se- Time
ca. +8 V
Time

quence of four control voltages, everytime a key on a connected

CV Output Level
keyboard is pressed and Dark Energy generates or receives a
MIDI note-on command or a gate signal. The envelopes control
Sustain
voltages are used to give the sound a dynamic shape. Level

The envelope provides four parameters: Time

Gate
+3 ... +12 V
• Attack On Off
0V

• Decay ADSR Envelope and its Parameters

• Sustain

• Release

As soon as the envelope generator gets a gate-on signal, it‘s outputted CV rises
from 0 Volt to maximum. The rise time is adjustable and called „Attack“. When
the maximum value has been reached, the voltage falls down within the „Decay“-
time to the „Sustain“-level. The envelope control voltage stays on this level until
the key is released, then it falls down to 0 Volt within the adjusted „Release“-
time.

The envelope generator provides the following controls:

• Knobs for Attack, Decay, Sustain and Release.

Please note that Attack, Decay and Release are periods of time while Sustain
is a level value.

• ADSR Range switch

This switch provides three different ranges (long / short / medium) for the time-
related parameters Attack, Decay and Release. Use „short“ for extremely per-
cussive sounds, „long“ is most useful for slowly evolving pad-sounds, medium
for everything inbetween.

• A blue coloured LED shows the activity of the envelope generator.

• Gate Input socket (back panel)

Instead of the internal gate signal, derived from an incomming MIDI-note, the envelope generator can also
be triggerd by an external gate signal via this socket (0/+5 to +12V). Use this socket, if you wish to play
Dark Energy with a CV/Gate sequencer or keyboard.

• Envelope Output socket

At this socket, the control voltage generated by the envelope generator can be picked up and used for addi-
tional modulation paths.

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DOEPFER Dark EnerGy Functionality

3.2.5. LFO1 and LFO2

A Low Frequency Oscillator produces a pulsating signal, mostly in the subaudio range, which can be used
to generate periodic changes of several soundparameters. Dark Energy provides two identical LFOs.

The LFOs provide the following controls:

• Frequency knob
This knob controls the LFO frequency resp. modulation speed.

• LFO range switch

This switch provides three different ranges for the LFO frequency: „Low“ (periods
of up to a minute) / „Audio“ (above 5 kHz) / „Medium“ (usual LFO range – several
seconds up to some 10th Hertz).

Since Dark Energy‘s LFOs produce frequencies up to the audiorange, they can be
used to generate FM-effects with VCO-pitch, VCO-pulswidth and VCF-frequency
as well as AM-effects (VCA). Use this feature to create interesting and noisy
soundeffects.

• Dual coloured LED (yellow/red) show positive and negative waveform halfs. Abo-
ve frequencies of approx. 30 Hz, the LEDs seem to light orange.

• Waveform switch
This switch selects the waveform of the LFO signal (triangle / off / square) or shuts
the LFO off. Triangle suits soft modulations, square generates „jumps“.

• LFO1 Output socket

The inverted output signal of LFO1 is provided at this socket. You may use it for additional modulation
paths.

Internal jumpers provide the non-inverted signal of LFO1 or the ADSR control voltage at this socket. You
may configure this jumper to your needs, but please keep in mind that opening Dark Energy‘s casing needs
some basic skills in handiwork. If you cannot cope with this, please feel free to contact Doepfer anytime.
You will find some more information in the section 3.5. „Modifications“ on page 25.

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DOEPFER Dark EnerGy Functionality

3.3. USB/MIDI Interface

3.3.1. Connection / MIDI channel

Quite likely, you want to play your Dark Energy via MIDI – there are two easy ways to do so:

• MIDI via USB or

• the „classic“ MIDI-connection via DIN socket.

• USB: To hook up Dark Energy in your MIDI-setup via USB, simply connect the included USB cable to
Dark Energy and to a free USB port on your Mac or Windows PC.
Mac OSX, Windows XP (SP2 or higher) and Windows Vista provide the necessary drivers and Dark Energy
will be mounted as soon as it is connected. You will find a new MIDI port in your MIDI application, named
„USB audio device“ (Windows XP) or „Dark Energy“ (OSX, Windows Vista) and you are ready to go.

If this message is missing or an error message is shown, e.g. „USB device not found“, the necessary driver
is most likely not installed or not working properly on this computer. In this case, Dark Energy‘s USB port
unfortunately cannot be used on this specific computer. We apologize for not being able to support this pro-
blem, since there will be multiple causes, very specific and depending on the computer. Of course you can
run Dark Energy in such a case via the MIDI DIN-connection without any problem. The same goes if you
use an older Windows or Mac System that does not provide the necessary drivers.

• DIN socket: You may connect Dark Energy alternatively via MIDI cable to a MIDI interface, a MIDI key-
board or a MIDI hardware sequencer.Simply connect the MIDI output of your MIDI device to Dark Energy‘s
MIDI port. Please do not use USB and DIN connections in parallel.

• MIDI channel selection (Learn button): In order to enable Dark Energy to receive incomming MIDI data,
the MIDI channel of both the MIDI device and Dark Energy have to be identical. You may select Dark
Energy‘s MIDI channel like this:

– Select the desired MIDI channel on your MIDI device / software application. Please refer to their user
manuals.
– Press the Learn button on the back of Dark Energy and keep it pressed down for at least one second.
The LED starts flashing, showing that Dark Energy is in learn mode. The delay of one second avoids
unintended enabling of the learn mode. The flashing LED always indicates Dark Energy‘s active learn
mode. To press the learn button easily, you may use a pen or a plug.
– Press the key on your keyboard with the lowest note, that Dark Energy should be able to play. This note
will set CV1 (pitch CV) to 0 Volt. This is approx. equivalent to 65 Hz / „C“, when tuning knob and range
switch are both in centerposition. The available range covers five actaves above that note. The default
setting is MIDI note number 36.
– Done – Dark Energy‘s MIDI channel now fits to the one of the connected MIDI device. Dark Energy
disables the learn mode automatically and changes to usual running mode. If you might enable the learn
mode unintended, simply hit the learn button again to leave learn mode.

When Dark Energy receives a MIDI note, the learn LED goes off for a short moment. You may use this as a
MIDI-in indicator, without the need to connect a soundssystem.

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DOEPFER Dark EnerGy Functionality

3.3.2. MIDI to CV/Gate interface

Since Dark Energy‘s soundgeneration works entirely real analogue and real analogue control voltages and
gate signals are used internally, the unit features a complete USB/MIDI to CV/Gate interface.
This integrated USB/MIDI to CV/Gate interface generates not only a pitch control voltage and a gate signal
to trigger the envelope, it also provides several control voltages derived from incoming MIDI velocity and
MIDI controller data. The MIDI to CV interface also features a simple but useful arpeggiator and a so called
reference tone. You have met the reference tone before to select the MIDI channel – it is the MIDI note, that
sets Dark Energy‘s pitch CV1 to 0 Volts and thus becomes the lowest note of Dark Energy‘s note range.

All CVs and gate signals are provided via sockets on the backpanel of Dark Energy. Use patch cords to
connect them with the module inputs on Dark Energy‘s frontpanel. So you can control the most importand
soundparameters dynamically via MIDI velocity and a MIDI controller.
You may „abuse“ Dark Energy‘s MIDI to CV/gate interface to control another, not MIDIfied analogue synthe-
sizer that fits to the specifications of Dark Energy.

Depending on the incomming MIDI data (note on/off, notenumber, pitchbend, MIDI controller, velocity) the
interface generates:

• The gate signal for the envelope generator,

• CV1: controlled by MIDI note numbers; 1V/oct scaling (internally connected with the VCOs pitch
control input)

• CV2: controlled by MIDI pitchbend data (ranges approx. -2,5V to +2,5V or 0V to +5V, selectedable via
internal jumper). CV2 has no internal connection, it can be patched to the control inputs on Dark Energy‘s
frontpanel as desired.

• CV3: controlled by volume or the product of volume and velocity (selectable via learn mode). CV3 has no
internal connection, it can be patched to the control inputs on Dark Energy‘s frontpanel as desired. Please
refer to page 20, section (2).

• CV4: controlled by a free selectable MIDI controller or the product of controller data and velocity
(controller number selectable via learn mode). CV4 has no internal connection, it can also be patched to
the control inputs on Dark Energy‘s frontpanel as desired. Please refer to page 20, section (2).
By changing an internal jumper, the CV4 socket can become a second audio output. In this case, CV4 is
not available any more. This mod enables you to use Dark Energy without any cable plugged into the
frontpanel. The default setting is CV4.

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DOEPFER Dark EnerGy Functionality

3.3.3. Learn Mode / MIDI Functions

In learn mode you decide, how Dark Energy processes incomming MIDI data. Next to this, you control the
settings of the internal arpeggiator and set the reference tone, which determines the lowest note in Dark
Energy‘s note range.
You may access each function via MIDI program changes. The table below lists all functions. The notes (1)
to (10) explain all functions in detail.

Function MIDI-Message Count Count Note Short Explanation

1-128 0-127
MIDI-Channel/Reference Note on (1)
note
(CV1=0V)
CV3 Velocity off Program Change #1 #0 (2) CV3=Volume
CV3 Velocity on Program Change #2 #1 (2) CV3=Volume*Velocity
CV4 Velocity off Program Change #3 #2 (2) CV4=Ctr.X
CV4 Velocity on Program Change #3 #3 (2) CV4=Ctr.X*Velocity

Retrigger
Off Program Change #5 #4 (3)
On Program Change #6 #5 (3)

Key-Assign-Mode
Highest note Program Change #15 #14 (6)
Last note Program Change #16 #15 (6)
Reference note Program Change #17 #16 (6)
Stack note Program Change #18 #17 (6)
Arp. Mode On/Off Program Change #19 #18 (7) Arpeggiator
Arp. Mode Hold Program Change #20 #19 (7) Arpeggiator
Arp. Mode Overwrite Program Change #21 #20 (7) Arpeggiator

Arpeggiator Sync - Program Change #22 #21 (8) Tempo - internal

Internal
Arpeggiator Sync – Program Change #23 #22 (9) Tempo - external
External (MIDI
Realtime/Clock)

Controller for CV4 Free MIDI- (10)

Controller (not
Bank Change-
Controller
Ctrl-0/32)

Notes:

(1) MIDI channel/reference for CV1=0V

In case of an incoming note event in the learn mode the note number and the channel of the event are ta-
ken over as the new reference tone and MIDI channel of Dark Energy. The reference note is the MIDI note
number that belongs to 0V CV1 output. In practice you simply enter the learn mode and press the key on
your MIDI keyboard that should belong to 0V CV1. MIDI note events below the reference note or more than
5 octaves above the reference note are ignored as the CV1 voltage range of Dark Energy is 0...+5V. The
factory default settings of reference note and MIDI channel are note number 36 (C) and channel 1.

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DOEPFER Dark EnerGy Functionality
For the setting of these parameters MIDI Program Change messages coming from your MIDI device are
used. Normally you will have to press the program change keys on your MIDI keyboard or MIDI synthesizer
while beeing in the learn mode. Pay attention that some manufacturers count the MIDI program change
numbers from 0....127 rather than 1...128 as usual and defined in the MIDI standard. If the lowest program
change number you can send with your MIDI device is 0 (zero) you have to subtract 1 from the program
change numbers in the table above as in this case the program changes of your device range from 0...127
instead of 1...128. For some devices (especially software sequencers) the type of program change numbe-
ring can be selected. In this case you should use the 1...128 range to agree with the numbers in the table
above.
The program change messages must be sent on Dark Energy‘s MIDI channel (please refer to section „MIDI
channel selection / learn mode“ on page 19).

(2) Velocity on/off

These program change messages are used to select whether the note on velocity affects the control volta-
ges CV3 resp. CV4. If velocity is „off“ only volume (CV3) resp. the free chosen controller (CV4) is used to
generate the control voltage. If velocity is „on“ the volume or controller value is multiplied with the note on
velocity, i.e. the CV value changes with every new note event as the velocity of the note event is used to
calculate the control voltage together the volume message (CV3) resp. the free controller (CV4).

(3) Retrigger on/off

With this parameter you may select whether a new gate/trigger pulse is generated when playing legato (i.e.
playing a new note on the keyboard while the key of the former note is still pressed). The factory default
setting is retrigger off. Additionally the MIDI controllers legato (controller #68) and sustain (controller #64)
affect the gate output in the usual manner.

(6) CV1 Key Assign Mode (Note Priority)

These program change messages adjust the type of assign modes for CV1. If highest note is selected the
highest key pressed on the MIDI keyboard is used to calculated CV1 if more than one key is pressed down.
In the last note mode always the last note (chronological) is taken for CV1. Reference note means that only
the reference note is accepted. This feature is useful if you want to trigger different devices on the same
MIDI channel using two or more Dark Energy. In this case you have to set the reference notes for Dark
Energy‘s to different values.
Stack note means that Dark Energy is filtering out the note event that is used by Dark Energy to generate
CV1. The note event in question is not transmitted to the (internal) MIDI Thru output of the interface. Stack
mode is used to control more than one synthesizers on one MIDI channel and enables polyphonic control
of different synthesizers on the same MIDI channel.
Please note that using this mode needs the internal Link-interface of Dark Energy. It is only accessable via
an internal hardware modification. please refer to page 25 for further infos.

(7) Arpeggiator

Dark Energy offers an internal arpeggiator. An arpeggiator splits the notes of a played chord into a suc-
cessive pattern of single notes. In music, the split of chords into a pattern of successive notes is in general
named „arpeggio“.

Dark Energy‘s Arpeggiator uses the following parameters:

• Tempo of the arpeggio can be determined by Dark Energy itself or synced to an external MIDI device.

• Direction is defined like this: The notes are played back in the same order, they have been played on the
keyboard.

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• Playback Mode:
On/off: Enables the arpeggiator. Set to on, a key has to be pressed down to become part of the arpeggio.
As soon as a key is released, the note is deleted from the arpeggio pattern. In other words: Only pressed
down keys are played back as arpeggio.

• Hold: In opposite to the „On“ mode, notes are still played back, after the corresponding key has been
released. The notes are deleted from the pattern, as soon as they are played a second time. You can
picture this function as a „toggle switch“.

• Overwrite: Again, the notes are played back in the same order, they have been played on the keyboard.
After the sixth note (maximum capacity) has been reached, the arpeggio starts all over again. This mode
„collects“ played keys, selective deleting of notes is not possible. If the arpeggiator is stopped, the whole
pattern will be deleted.

(8) Arpeggiator Sync – intern

Dark Energy‘s arpeggiator generates it‘s own clock signal. The tempo can be controlled via MIDI Modwheel
data. Since a modwheel can be found on almost every MIDI keyboard, it is a useful controller to set the
arpeggiators tempo in realtime (see below).

(9) Arpeggiator Sync – extern (MIDI clock)

The arpeggiator receives tempodata from an external device via USB/MIDI input. It processes the so called
MIDI realtime events: MIDI Start, Stop, Continue, Clock. Please note: The arpeggiator will only run, when
these events are generated and send by the master MIDI device!

The following realtime parameters can be controlled with several MIDI controller messages (These parame-
ters cannot be saved. After powering down/up Dark Energy, they will return to their default settings).

• Tempo

- MIDI controller 1 (Modwheel)

- Value range: 0 – 127

- Value 0 = Stop

• Gate length (note length)

- MIDI controller 0

- Value range: 0 – 127

(Devides the MIDI-clock value or the value of the internal clock. Devider is 1/96.)

• Octave

- MIDI controller 0

- Value range: 0 – 6

(The pattern will be transposed up to 7 octaves, until it starts again with note „one“.)

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Since Dark Energy‘s note range covers a maximum of 5 octaves, higher notes will be ignored and cause
„pauses“ within the pattern. This effect can be used in a creative way to create musical phrases.

Example: With the setting „octave 1“, the played chord A3-C4-F4-G4 will provide exactly the same pattern.
Using „octave 2“ instead, provides the pattern A3, C4, F4, G4, A4, F5, G5 and so on.

(10) MIDI controller for CV4

If Dark Energy receives a MIDI controller message (except bank controller 0 & 32) while being in learn
mode the controller no. of these message defines the controller no. for CV4. I.e. the CV4 output of Dark
Energy corresponds from now on to these controller no. The controller message must be sent on Dark
Energy‘s MIDI channel (see section „MIDI channel / Learn mode“ on page 17). Controller 0 and 32 (Bank
Change) will be ignored and cannot be „learned“.

Whenever Dark Energy receives one of the MIDI messages listed in the table above, the parameter in
question is changed and Dark Energy returnes to the normal play mode, i.e. the LED stops flashing. Pay
attention that not unintentional MIDI messages appear while beeing in the learn mode (e.g. from a sequen-
cer) as you change the settings of Dark Energy with such MIDI messages. All parameter changes made
while beeing in the learn mode are stored non volatile in Dark Energy parameter memory. When Dark
Energy is turned on next time the parameter settings are taken from this memory.

3.3.4. Resetting Dark Energy

To obtain the factory settings for all parameters one has to reset the device. This might be useful if you
e.g. do not remember the last parameter settings (e.g. MIDI channel, reference note, controller # for CV4,
key assign mode) or if they are misadjusted. If your Dark Energy seems to behave strange and you do not
know how to solve the problem resetting the device may help as the values of all parameters are known
after the reset.
To reset the device press down and hold the learn button while the power supply is plugged in. The LED
will turn on and one has to keep down the button a few seconds until the LED starts to flash. Pressing the
button again leads to the normal operation mode and the LED will turn off.

After the reset Dark Energy‘s parameters are set to these default values:

- MIDI channel 1
- Reference note 36 (i.e. the lowest „C“ on a standard 5-octave keyboard)
- Retrigger: on
- CV3: volume (controller #7)
- CV4: modulation (controller #1)
- Key assign mode: highest note
- Internal Arp-Tempo: approx. 120 BPM
- Gate length: 6
- Octave: 1
- Arppeggiator Sync: internal

These values are identical to the factory default settings.

24
DOEPFER Dark EnerGy Functionality

3.4. Link / stack several Dark Energy‘s

In parallel on the same MIDI channel:

You may run several Dark Energys in parallel. When all devices use the same MIDI channel, they will all
sound simultanously when a note is played. Stacking Dark Energy‘s this way may create even more com-
plex and richer sounds. It is also interesting to program only slight sonic differences between the units. This
can be useful for very expressive and rich pad-sounds. Stacking Dark Energy‘s this way is done most easy
with the help of a MIDI-THRU box, a MIDI interface with multiple outs or an USB hub.

Stack Mode:
Stack Mode (p. 19, 20) runs several Dark Energy‘s in the manner of one polyphonic instrument. Every unit
plays one voice. Since Dark Energy‘s casing is too packed, it has no MIDI-THRU socket but an internal link-
connector. Holes in the sides of the box provide access to these connectors as soon as the wooden sidepa-
nels have been dismantled. You may mount several units mechanically together side by side.

The use of these internal link-connectors needs some hardware modifications, that are described in an
additional technical documentation of Dark Energy. Please download this documentation from our website
here:

www.doepfer.de -> Products -> Dark Energy -> Additional technical documentation

Importand: Please do not tinker around with your Dark Energy without having read and fully under-
stood this additional technical documentation! Otherwise you may damage your instrument, loose
your warranty, risk your health etc.

3.5. Modifications

Dark Energy provides several hardware modifications to customize the unit to your specific needs. Besides
the Link-connection (see above) this is the configuration of the CV output sockets and the calibration of
some parameters. Next to this, you may mount the casings of several units together in order to get one big
and even more „darker“ Energy.
All this is described in detail in the additional technical documentation of Dark Energy. Please download
this documentation from our website here:

www.doepfer.de -> Products -> Dark Energy -> Additional technical documentation

Again: Please do not tinker around with your Dark Energy without having read and fully understood this
additional technical documentation! Otherwise you may damage your instrument, loose your warranty etc.

If you are concerned to have „two left hands“, you may easily give these modifications in the hands of a
qualified and authorised tech. You may find all information on our website (www.doepfer.de)

3.6. Firmware Update

Dark Energy‘s firmware can easily be updated via USB. In case a new firmware version is available, you
may download it from our website (www.doepfer.de). A detailed description of the update process can be
found in the additional technical description of Dark Energy. You may download this documentation here:

www.doepfer.de -> Products -> Dark Energy -> Additional technical documentation

25
DOEPFER Dark EnerGy Basics of Soundgeneration

4. Basics of Soundgeneration
In case analogue synthesizers or synthesizers in general are new to you, please read this section. You may
learn some basics about analogue / subtractive soundsynthesis that will help you to fully understand Dark
Energy’s little secrets.

One
Sound is, very generally spoken, a change of air pressure. If these chang-
ein Cycle
Schwingungsdurchgang
es happen continously and with a certain frequency, they can become an
Amplitude

audible noise or tone. Frequency is measured in Hertz (Hz). The human

ear percepts frequencies approx. between 20 Hz and 20.000 Hz. The
frequency of an audible signal determintes it’s musical pitch.
Time
Zeit
Schwingungen
Cycles
Frequency
Frequenz in Hertz
in Hertz (Hz)==
(HZ) Seconds
Sekunde

Another basic parameter that is percepted by our ears is loudness resp.

the level of an audible signal. Loud tones or noises move more air than
Pegel/Amplitude
Level/Amplitude

weak ones. Thus, the “size” of the signal is called amplitude and is mea-
sured in Dezibel (dB).
Time
Zeit

The third importand parameter to define a sound is the timbre. The is no special definition, it is usually
described with associative terms, such as sharp, dull, bright, dark, thin or rich.
The timbre is determined by the so called overtone content of the sound. In general, bright sounds contain
more overtones, dull sounds lesser.

As we see, the “raw material” of a sound is defined by the three parameters frequency or pitch, loudness or
level and timbre resp. overtone content.

Oscillators and Waveforms

With analog synthesizers the tonal “raw material” is produced by voltage-controlled oscillators (VCOs). Nor-
mally, a VCO provides several waveforms. Standard waveforms are pulse, sawtooth and triangle. These
are most useful in soundgenaration, since they offer a rich but different overtone content and therefor they
sound very different from each other. Thus Dark Energy uses them. Less used waveforms (sine, spaced
sawtooth, graphically editable wave forms) are not dealt with here.
As said above, the waveforms differ in their overtone spectrum, i.e. they contain different harmonics. An
overtone is called harmonic if its frequency is an integer multiple (2, 3, 4, ...) of the base tone frequency.

A sawtooth wave contains all harmonics with descending 100%

amplitudes.

0%
f1 f2 f3 f4 f5 f6 f7 f8
ff 9

Harmonics

26
DOEPFER Dark EnerGy Basics of Soundgeneration

The symmetrical pulsewave (or “squarewave”, pulsewidth = 100%

50 %) contains odd harmonics only (see Fig.). An unsymmetrical
pulsewave (often simply called “pulsewave”) contains all harmon-
ics with their amplitudes being dependant on the pulsewidth.
The more the pulsewidth differs from the symmetrical 50 %, the
stronger the higher harmonics emboss the sound, i.e. its timbre
becomes more “nasal”.
0%
f1 f2 f3 f4 f5 f 6 ff
f7 f8 9

Harmonics

The width of a pulsewave can be modulated by a low frequency b

c
a
oscillator (LFO) or, less common, by an envelope generator. Then
the overtone spectrum of the pulsewave continuously changes.
The resulting sound is similar to a beat wave which is the result
of two, nearly equally tuned oscillators. The modulation frequency 1 /f 1 /f

must be very low (approx. 1 Hz or lower) since the oscillator

seems detuned otherwise.
100%
The triangle and sine waveforms have only a weakly pronounced
harmonic structure resp. no harmonics at all (sine). The triangle
waveform contains only the odd harmonics like the sawtooth but
their amplitudes decreases by the power of two while with the
sawtooth they are decreasing linearely in their numerical order
and therefore much slower.

0%
f1 f2 f3 f4 f5 f6 f7 f8
ff 9

Harmonics
Modulation

The amount of overtones of the base material is decisive for the possibilities in sound shaping with the sub-
sequent voltage-controlled filter (VCF) since subtractive sound synthesis with a VCF (see below) only al-
lows to cut-out or amplify overtones that exist. Therefore, the sine and triangle wave only play a minor part
here. Under the condition that a VCF works as sine wave oscillator when resonance is set to maximum, it
can be used in this way if a sine wave oscillator is required for a special sound.

If a low frequency oscillator is available, it can be used for modulating

either the VCO pitch (frequency modulation = FM, also called “vibrato”)
or the pulse width (pulse width modulation = PWM). Simple LFOs provide
frequencies in the range of 0.1 Hz to 10 Hz while better ones have a sig-
nificantly wider range (0.01 Hz to 5 kHz) with switchable frequency bands
for better adjustment.

Modulation frequencies within the audio range should be dealt with in more detail since their result are very
special sounds. If a VCO is modulated with a frequency close to its own, a completely new sound charac-
teristic is established. In this case the VCO also produces non-harmonics, i.e. tones whose frequencies are
non-integer multiples of the VCO frequency. This acoustical characteristic is the basis for the so-called FM
Synthesis which is used with several digital synthesizers. If e.g. a VCO, oscillating at 1 kHz (1000 Hz), is
modulated with a frequency of 400 Hz, so-called “side bands” around the the VCO frequency are created
which are grouped symmetrically around the VCO frequency as integer multiples of the modulation

27
DOEPFER Dark EnerGy Basics of Soundgeneration
frequency. For the given example this would result in: 1000 Hz, 1400 Hz, 11800 Hz, 200 Hz, etc...
Strictly speaking this only applies to pure sine wave frequeny modulation, i.e. if both, VCO and LFO,
are sine wave oscillators. With other wave forms additional (non-)harmonics will be added. Unhar-
monic sounds, similar to frequency modulation, are also produced by pulse width modulation with
high frequencies. In practice this priciple is used for creating extreme, unharmonic sounds. The de-
gree of being unharmonic depends on the strength (amplitude) of LFO modulation as well as on the
frequency ratio of VCO and LFO. “Practice is better than theory” applies here. You should try various
settings for LFO frequency and LFO amplitude. Most probably the resulting wave forms are not suited
for sweet, “beautiful” sounds but can be used for extreme, “vigorous” sounds instead.

Filters

With subtractive sound synthesis the further processing of the tonal “raw material” (VCO signal) will
be done by a voltage controlled filter (VCF) first which is usually followed by a voltage controlled
amplifier (VCA).

There are different types or characteristics of filters. The CV

basic types are lowpass, bandpass and highpass while the

types notch and allpass are less common. The filter types
differ in how they feed the frequency through resp. which
frequency ranges are rejected. A lowpass passes all fre- O ut O ut

quencies that are below the cutoff frequency and cuts off all fc
fc
frequencies above. The highpass works just the opposite
way since it passes all frequencies that are above the cutoff
frequency and cuts off all frequencies below. A bandpass F r eq. F r e q.

passes all frequencies within a certain range (band) and Charakteristics of a lowpass filter
rejects all frequencies outside this range. A notch cuts out a
certain frequency range (inverse function of the bandpass).
An allpass passes all frequencies but it performs a phaseshift dependant on the frequency. For musi-
cal purposes the lowpass is by far the most efficient filtertype, thus it is used in Dark Energy.

Next to the filtertype, another important parameter of a filter is slope which is measured in dB/Oc-
tave. It describes how steep the transition from passing to recection occurs. The “ideal” filter would
have an infinite slope, i.e. the transition occurs immediately (e.g. 999 Hz would pass totally while
1000 Hz would be supressed totally). In reality this transition is not a jump but a gliding, depending
on the filter’s slope. For musical purposes, a filter with a high value would have a slope of 24 dB/Oc-
tave but 12 dB/Octave are also useful for special applications (usually for high pass, band pass and
notch). Dark Energy uses a 24 dB/Octace filter, since it worked out to be the most musical useful and
efficient.

A further filter parameter is resonance (or emphasis). If the

filter provides an adjustable resonance, frequencies close
Attenuation

to the cutoff point can be emphasized. The filter becomes

Resonance
more of a bandpass with an underlaid low pass. For musi-
cal applications it is very important that the filter resonance 0 db

is able to be adjusted. VCFs without adjustable resonance

are seldomly used. Overtones close to the cutoff point are
emphasized the bigger the resonance is set (see fig. XX).
This results in the typical resonance and tweet sounds of
an analog filter. With many filters the resonance can be set
to such a high degree that self oscillation of the filter occurs
Frequency
(even without any input). This allows you to use the filter as fc
a sine wave oscillator instead of the VCO for special pur-
poses. You guessed it – also Dark Energy’s filter is capable Resonance changes the filter characteristics
to self oscillate and thus to create a lot of typical sounds.

28
DOEPFER Dark EnerGy Basics of Soundgeneration

There are several ways to control the filter’s cutoff frequency. First, it can be adjusted manually with the
Freq. knob. Furthermore the ADSR as well as LFO 2 can influence the cutoff frequency with any intensity.
The intensity is set by the XM knob. Additionally, the filter is controllable via MIDI, i.e. its cutoff frequency
can be controlled by any MIDI controller and / or by the velocity data of the incoming MIDI notes. Finally,
using a switch, you can determine whether the VCF cutoff frequency tracks the VCO frequency fully, half
or not at all (keyboard tracking, keyboard follow). Filter resonance can be adjusted until self oscillation of
the filter occurs. Similar applies to the VCO-LFO (LFO 1) with regard to the LFO for the filter (LFO 2). LFO
2 can also produce frequencies up to the audio range. The tonal results of VCF frequency modulation with
audio frequencies are similar to those of the VCO. You can create typical FM metallic sounds especially
with high frequencies whether you use tonal base material (VCO / external audio signal) or not. You can
even create voice-similar sounds when setting the VCF to the appropriate setting and using slowly pro-
gressing ADSR envelopes. The sound will become realy extreme, if you use frequency modulation with au-
dio frequencies for both VCF and VCO. The tonal results are nearly unpredictable. There is only one way:
try it out; very often the results are totally surprising.

Very unusual in analogue synthesizers but musically useful is the linear frequency modulation, featured by
Dark Energy. Here the VCFs cutoff frequency is modulated in a linear matter by the triangle wave of the
VCO. Intensity is set by the LM knob. This feature is very useful for FM sounds with the filter working as
a sinewave oscillator (self oscillating) that keep their harmonic content while the sound is e.g. played by a
sequencer, keyboard or USB/MIDI interface.

Amplifiers

The voltage controplled amplifier (VCA) emphases the sound between the factor 0 and 1, depending on a
control voltage, usually provided by the envelope generator and/or the LFO. The VCA controls the loudness
contour of the sound, resp. their articulation, to use a musical term.

The above described components VCO, VCF and VCA generate resp. process the audiosignal itself. Next
to this, we already mentioned components that do not generate any audible signals, but provide control
voltages to modulate the parameters of the soundprocessing modules. These are the envelope generator
(or ADSR) and the Low Frequency Generator (LFO).

Envelope Generators

Envelope generators, typically of the ADSR type (attack - decay -

Attack Decay Release
sustain - release), produce a sequence of four voltages which can Time Time Time
ca. +8 V
be used for controlling the VCO pitch, VCF cutoff frequency and
the VCA amplification. The ADSR produces a “one shot” contour
in opposite to an LFO, which generates a frequent modulation.
Sustain
The envelope consists of 4 parameters: attack time, decay time, Level
sustain level and release time. When pressing a key on a key-
board (note-on command / gate = on), the envelope rises within Zeit

a period of time which can be set by the attack control. After +3 ... +12 V
0V
reaching its maximum the envelope decays down to the sustain On Off

level within a period of time adjustable by the decay control. The : ADSR-Hüllkurve und ihre Parameter
envelope stays on this level until the key is released (note-off
command / gate = off). Then it decreases to zero within a period
of time adjustable with the release control.

29
DOEPFER Dark EnerGy Basics of Soundgeneration
Low Frequency Oscillators

An LFO is a Low Frequency Oscillator which generates frequent control voltages over a wide range. It can
provide several waveforms. Both LFOs of Dark Energy provide triangle and square waveforms. The latter
can be used for “jumps” in modulation while the triangle wave creates continous modulations. The LFOs
can be used as modulations sources for all of Dark Energy’s importand sound parameters.

Interaction

The following figure shows the interaction of all the above mentioned components. It shows the audiosignal
path (darker coloured) with oscillator (“raw sound”, pitch), filter (timbre) and amplifier (loudness). Next to
these modules you see the modulating or controlling elements (envelope generator, LFO) which provide the
necessary control voltages to control the parameters of the aforementioned components.

Envelope-
Gate Signal
Generator
(ADSR)

Envelope Control Voltage

Audio Audio Audio

Keyboard / Oscillator Filter Amplifier
MIDI-Interface (VCO) (VCF) (VCA)

Audio
Output
Pitch
Control Voltage
LFO Control Voltage

Low Frequency
Oscillator
(LFO)

If you feel like going deeper into the secrets of soundsynthesis, please check out this book:

Allen Strange, Electronic Music – Systems, Techniques and Controls, 2nd edition, Wm. C. Brown Company
Publishers, Iowa, ISBM 0-697-03602-2

This is one of most complete and useful publications about sound synthesis and synthesizers, suitable for
newcommers and more advanced musicians.

30
DOEPFER Dark EnerGy Example Sounds

5. Example Sounds
This section shows some example sounds of Dark Energy with a short description of the parameter
settings. You may try out and modify these examples in order to get familiar with Dark Energy‘s sonic
capabilities. Have fun!

1. Start Up

The first example shows a very typical and simple synthesizer sound. It is musically useful and a good star-
ting point for your own creations.
The VCO provides a mix of saw- and squarewave signals. The last-named gets a slight pulswidth modu-
lation by LFO2 in order to make the sound richer. The evelope generator controlls both VCF and VCA i.e.
timbre and loudness of the sound.
If you connect the CV4 socket in the backside with the VCF F input, you may additionally controll the filter
cutoff with the modwheel of your MIDI keyboard.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

31
DOEPFER Dark EnerGy Example Sounds
2. Basic Bass

The second example is a simple and useful bass sound.

Again, the VCO provides a mix of saw- and squarewave signals. The last-named gets a slight pulswidth
modulation by LFO2 in order to make the sound richer. Experiment with the parameter settings, especially
with VCF Freq and resonance as well as with the ADSR parameters.

With very short decay values and low cutoff settings, slight but clearly audible pops may occur. This is nor-
mal. If not desired, simply increase these values a bit.
If you connect the CV4 socket in the backside with the VCF F input, you may additionally controll the filter
cutoff with the modwheel of your MIDI keyboard.

Raise filter cutoff and resonance and crank up the LFM knob (linear FM) slowly to maximum. The sound
becomes sharper. Experiment with the filter settings and the range switch of the oscillator.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

32
DOEPFER Dark EnerGy Example Sounds

3. Energy Pad

A simple but classic pad sound. If you record and overdub several voices with slightly different settings, you
will get very rich pads.

A slow envelope controls both loundness (AM) and filter cutoff frequency (VCF XM). The VCO provides a
mix of saw- and squarewave signals. The last-named gets a slight pulswidth modulation by LFO2 in order
to make the sound richer. Different ADSR and VCF settings can change the sound into a brassy-like cha-
racter.

If you connect the CV4 socket in the backside with the VCF F input, you may additionally controll the filter
cutoff with the modwheel of your MIDI keyboard.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

33
DOEPFER Dark EnerGy Example Sounds
4. Metallic Lacquer

Now Dark Energy goes for some metallic percussion sounds. They feature frequency modulation in the
audiorange. As you already know, this fits best for inharmonic and noisy timbres. This sound is partly tonal
playable.

The filters resonance is fully cranked up, i.e. the filter runs as an oscillator. It‘s frequency / pitch is controlled
by the LM knob. The modulation source is the VCO, which itself is modulated by LFO1 in the audiorange.
This corresponds to a 3-operator-FM. The frequency values of VCF, VCO and LFO1 as well as the modula-
tion depths (VCF-LM and VCO-FM) have to be adjusted very carefully to make the sound tonally playable
at least over a range of two octaves.

The modwheel (CV4 to VCO F or VCF F) provides wild noise effects.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4 CV4

34
DOEPFER Dark EnerGy Example Sounds
5. R2D2 On Acid

Here, Dark Energy‘s LFOs generate some kind of mini-sequence. The oscillator generates only the puls-
wave (pulswidth = 0), which is heavily modulated by LFO2s squarewave. The modulation depht exceeds its
maximum and the sound gets dropouts within the speed of LFO2. In addition, LFO2 modulates the filter and
generates jumps in timbre. LFO1 modulates the VCOs pitch in a way, that it‘s squarewave performs octa-
ve jumps (adjust VCO-FM carefully). The modulation speeds of both LFOs is adjusted in a way, that they
generate a simple rhythmic pattern. The cranked up VCA knob provides a static output level, the ADSR is
not in use.

Connect the LFO1 output to the VCF F input and listen how the sound changes. Play with the
filter parameters.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

35
DOEPFER Dark EnerGy Example Sounds
6. Almost Sync

This example sound does a good job as a bass or – in higher ranges – as a powerful keyboard/lead sound.

The pulswidth of the squarewave is modulated in the audiorange by LFO2. Result is a sound, that slightly
reminds of the classic „oscillator sync“ effect. Filter and VCA are controlled in the usual way by the envelo-
pe with a percussive setting. Importand for the sonic characteristics are the settings of all filter parameters,
LFO2 frequency and the modulation depth of the pulswidth PM. If you use the trianglewave instead of saw
as a second VCO signal, the sound becomes much softer.

If you connect the CV4 socket in the backside with the VCF F input, you may additionally controll the filter
cutoff with the modwheel of your MIDI keyboard.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

36
DOEPFER Dark EnerGy Example Sounds

7. Perco Bass

A modified version of the sound above can be found here. The envelope has a very short and percussive
setting, the high resonance value increases the percussive character even more. If you use the ADSRs „hi“
range, the envelope parameters can be cranked up a bit more. The envelope setting keeps it‘s percussive
character but unwanted „pops“ will be avoided.
Pulswidth modulation (PM) and a bit of linear frequency modulation of the filter cutoff (XM) with LFO2 add
an interesting timbre.

If you connect the CV4 socket in the backside with the VCF F input, you may additionally controll the filter
cutoff with the modwheel of your MIDI keyboard.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

37
DOEPFER Dark EnerGy Example Sounds
8. Popcorn

This admittedly very simple sound is a classic.

It shows again the „abuse“ of the filter as an oscillator: Resonance is fully cranked up, i.e. the filter oscil-
lates. The „full“ position of the VCF-tracking switch provides tonal scaling of the VCF and thus playing the
filter in halftones over your keyboard. The VCO itself is not in use. The very short envelope only uses a
simple AD setting.

If you modulate the filter cutoff (crank up slowly XM and/or LM), the sound looses it‘s tonal qualities and you
get some very typical synthie percussion sounds.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

38
DOEPFER Dark EnerGy Example Sounds

9. Disco Drum

Let‘s stay a bit in the 70th sound asthetics and dial in a drum synthie on your Dark Energy.
Depending on the cutoff setting, Dark Energy produces a typical „piuuh“ or a soft bassdrum. The envelope
modulates the VCO pitch (FM) and the filter cutoff (XM). A bit of linear filter modulation adds some noisy
tonecolour. Filter tracking is disabled since this sound does not need to be played in halftones. The decay
parameter of the envelope influences also the sound.

Again, use the modwheel via CV4 socket.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4 CV4

39
DOEPFER Dark EnerGy Example Sounds
10. Bright Energy

This sound fits perfect to a step sequencer and makes a good job in „modern electronic dance music“.

Most effective sound parameters are all filtersettings (Freq., XM and Reso) as well as the decay parameter
of the envelope. Careful adjustment of these parameters provides a number of typical sounds. Here, puls-
width of the VCO squarewave is modulated by the envelope. The effect is quite subtil but adds some cha-
racter to the sound. The AM knob is fully cranked up. This adds some slight saturation to the output signal
and makes the sound a bit „phatter“.

Again, use the modwheel via CV4 socket.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4

40
DOEPFER Dark EnerGy Example Sounds

11. Processing external audiosignals

You may use the input socket „external audio“ to process audiosignals of other soundsources within Dark
Energy.
Connect e.g. a drumcomputer or an output of your soundcard to Dark Energy‘s external audio input. Start
e.g. a drumloop. The signal runs through Dark Energy‘s filter and is, depending on the Freq.-knob setting,
changed in timbre. Since the VCA knob is cranked up, the VCA is open without getting a control voltage
from the envelope resp. you do not have to play a note on your keyboard. Use linear frequency modulation
of the filter cutoff (LM) to change timbre and add noise to the drumloop.

If you play a note on your keyboard, the envelope opens the VCF and VCA and the loop gets a contour.
Loudness can be controlled with the VCA knob. Program notes in your MIDI sequencer „in parallel“ to the
drumloop or play precise enough on your keyboard to achieve rhythmic effects in sync with the loop.
Instead of the envelope, you can also use Dark Energy‘s LFOs as modulation sources. The squarewaves
provide interesting gate-effects, however perfect syncing the effect to the tempo of the external source is
not possible. So this works well for non-rhythmical sounds.

Of course you may use an external soundsource together with Dark Energy‘s internal VCO. A second ex-
ternal VCO (e.g. Doepfer A-117 or A-118 controlled by CV1 of Dark Energy‘s USB/MIDI-CV interface) or a
noise generator (e.g. Doepfer A-183-1) can also be used. These additional modules can easily mounted in
e.g. a Doepfer A-100 mini-case.

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

CV4 CV4 ext. Signalquelle

41
DOEPFER Dark EnerGy Example Sounds
Archieve your own sounds

Congratulations – you did a good job, you read and understood the entire manual, explored all functions of
Dark Energy, checked out example sounds and learned a bit about the basics of soundgeneration. Now you
are ready to go and explore Dark Energy further. Now you should be able to let your creativity flow freely
and to create your own accurate sounds without any problem. Experiment – there‘s still a lot to explore.

If you found a soundsetting you wish to „save“, please use the figure below. Copy this page and draw in the
settings of the knobs and switches as well as the patchcords.

Soundname: Category: Note:

DARK ENERGY DOEPFER

5
VCO 5
VCF ADSR
VCA Envelope
Tune Frequ. Range Amp Attack
4 Octave 4 Track 4
3 7 up 3 7 half low 3 7 3
high

2 8 off 8 2 8

1 9 1 9 medium 1 9 1 9
down full
0 10 0 10 0 10 0 10

5 Source 5 Source Source 5 Decay

4 FM 4 XFM 4 AM 4 6
3 7 LFO1 3 7 LFO2 LFO1 3 7 3 7

2 off off off 8 2 8

1 9 1 9 1 9 1 9
ADSR ADSR ADSR
0 10 0 10 0 10 0 10

5
PW Shape
5
LFM LFO1 Frequ. Sustain
4 4 Range Shape 4 4 6
3 7 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
medium
0 10 0 10 0 10 0 10

5
PWM Source 5 Res LFO2 Frequ. Release
4 4 Range Shape 4 4 6
3 7 LFO2 3 7 low 3 7 3 7
high

2 off 8 off 8 2 8

1 9 1 9 1 9 1 9
ADSR medium
0 10 0 10 0 10 0 10
Inputs Outputs

VCO F VCO PW VCF F VCA A Gate Ext. LFO1 Envelope Audio

Audio

42
DOEPFER Dark EnerGy Appendix

6. Appendix

Service and terms of warranty.

Concerning service and warranty conditions, please refer to our terms of business.
You will find our terms of business at:

www.doepfer.de

Doepfer Musikelektronic GmbH

Geigerstr. 13
D-82166 Gräfelfing / Deutschland

EG Conformity
Für das als Doepfer Musikelektronik GmbH „Dark Energy“ bezeichnete Produkt wird hiermit bestätigt, dass es den
Schutzanforderungen entspricht, die in der Richtlinie 89/336/FWG des Rates zur Angleichung der Rechtsvorschriften der
Mitgliedsstatten über die elektromagnetische Verträglichkeit festgelegt sind. Es entspricht außerdem den Vorschriften des
Gesetzes über die elektromagnetische Verträglichkeit von Geräten (EMVG) vom 30. 08. 1995. Zur Beurteilung des Produkts
wurden folgende harmonisierende Normen herangezogen:
EM 50 082-1: 1992, EN 50 081-1 : 1992, EN60065 : 1995
Please refer to our website „terms of business“.

Disposal
This device complies to the EU guidelines and is manufactured RoHS conform without the use of led, mercury, cadmium and
chrome. Nevertheless this device is special waste and disposal in household waste in forbidden.

For disposal, please contact your dealer or :

Doepfer Musikelektronik GmbH, Geigerstr. 13, D-82166 Gräfelfing / Deutschland

IMPRESSUM

Owners Manual by Matthias Fuchs / VISOPHON, Dieter Doepfer, Christian Asall / Doepfer Musikelektronik ©

Copying, distribution or any commercial exploitation in any form is prohibited and needs the written permission by the
manufacturer.

Specifications subject to change without notice.

Although the content of this owners manual has been thoroughly checked for errors, Doepfer cannot guarantee that it is correct
throughout. Doepfer does not accept responsibility for any misleading or incorrect information within this guide.

doepfer
Doepfer Musikelektronik GmbH
Geigerstr. 13
D-82166 Gräfelfing / Deutschland

www.doepfer.de

All rights reserved ©2009 Doepfer Musikelektronik GmbH

43
Dark Energy doepfer Musikelektronik gmbh