Your Schaltwerk is supplied with the software version 1.xx (xx being the latest release of version 1). It has been extensively checked, both by ourselves and numerous beta-testers, and has proved to be bug free. Given the complexity of this new software, It is nevertheless possible that a hidden problem escaped our attention. We would be very pleased to hear from you in the event that you encounter such a problem. We’ll then try to correct it as soon as possible, and will send you a cost-free update.

• This service is cost-free only if you send in your EPROM. We will erase it and reprogram it with the corrected software.
• However, this policy does not apply to the broadening of functions, not included in this software version, and not part of our advertisement. Only genuine software errors are covered.
• Software upgrades which expand the functionality are always offered at a charge.
• To update the software himself/herself, the customer has to open his/her machine to change the EPROM. This procedure is carried by the customer at his/her own risk and expenses, i.e., damage to the machine due to an improperly inserted EPROM is not covered by the warranty.

© Copyright 1997

DOEPFER Musikelektronik GmbH

Geigerstraße, 13

D-82166 Gräfelfing

Tel: +49 / 89.898 095 10

Fax: +49 / 89.808.095.11

E-mail: info@doepfer.de

Internet: http://www.doepfer.de

1^st English edition August 1996 by E. L-K.

During the course of 1997, we plan to expand our existing Internet pages through the addition of software information and update service. We would like to offer you not only detailed information about the various software releases, but also the possibility to download them. Anyhow, customers will be able to download the required software in order to burn it into an EPROM.

This machine is only dedicated to the applications described in the present users manual, and cannot, for security reasons, be used for other purposes than those described here. It is recommended that you ask to a specialist if you are not sure about some specific application of this machine.

The device is only to be used on mains supply or with the further described low voltage adaptor.

To open the device it is mandatory to disconnect the power supply.

Transport the device carefully, do not drop it nor turn it upside down. Ensure that the unit sits firmly to prevent any fall, slip down or capsize. Only by respecting carefully these measures can injuries be avoided.

• 
• To insert the EPROM, it is crucial to match the notches present on the socket and the component. An EPROM inserted the wrong way is always destroyed and can cause serious damage to the surrounding circuitry.
• Place the EPROM on top of its socket. When the pins are aligned, they should slip into the holes perfectly. Check once again the orientation of the chip and, if all pins seem to match their holes, press down the EPROM slowly but firmly, using both thumbs.

Send your machine in the original packing only. To return your machine for exchange, repair (under warranty or not), update or verification, it must be sent in its original packing! Shipments using any other packing will be refused. Be sure to keep the packing and documents in a safe place for later use.

All connectors described here are located at the back of the device.

4.1.1. Version with external transformer

4.1.2 Version with built-in 230V. mains supply

4.2.1. MIDI-IN connection

4.2.2. MIDI-OUT connection

4.2.3. MIDI in-out connection

It is also possible to use an ordinary LFO from an analog synthesizer as a clock source.

This way, it is possible with the appropriate shaking in the control signal to get a "floating groove" in the Schaltwerk timing.

• Note that in case of coupling with other devices, if both devices are set to input or output, there won’t be any effective coupling.

8 x CV1 (i.e., for pitch or controllers)

8 x CV2 (i.e., for velocity)

8 x Gate

• The CV option does not work separately from the data sent in MIDI, but in parallel and thus simultaneously.
  Despite the limitation of the CV values being linked to their corresponding MIDI values, the number of voices under control of the Schaltwerk can be almost doubled.
• The 8 CV1 outputs are linked to the parameter "Note Number-Track/Step", with CV1-1 to CV1-8 corresponding respectively to Track 1 up to Track 8.
• The CV’s are covering a range from 0 to 5.6 Volts.
• The curve characteristic of the CV follows a Volt/Octave ratio and is primarily dedicated to the control of the pitch.
• The relation between the note numbers and the output voltage is: Note #36~100 = 0~5.6 Volts.
• Going below (note # 0~35) or above (note # 101~127) the allowed range will clip the output voltage to the lowest/highest voltage possible, issuing valid CV’s, which are nevertheless overlapping with the note range 36~100.

5 Front panel controls

The Schaltwerk sports the following controls:

6.2.1 Step/Event Types

For example, it can also be:

• Controller Events
• Polyphonic-Aftertouch
• Monophonic-Aftertouch
• Program-Changes
• Pitch-Bend
• Such events are defined as Event Type, with their associated MIDI channel value, and one or two associated data values.
• In the example of a Note-Event, there will be the definition of the pitch (note value), and the definition of the note level (note velocity).
• For controllers, there will be a Controller Number (controller value).
• The Monophonic-Aftertouch is defined as a value
• The Polyphonic-Aftertouch is built around a note value and its associated pressure value.
• Program-Change is a program select number.
• The Pitch-Bend is made of two linked values; practically, one of them is always set to zero.

6.2.2 Step/Duration

6.2.3 Step/Condition

6.3.1 Global Track parameters

All 16 steps of a track share this common set of parameters, an individual setting of each step is not possible. Nevertheless, this set of global parameters can be different for each track.

6.3.2 Track Select button

6.3.3 Track mute button

6.4.1 Pattern number/memory

6.4.2 Pattern edit

6.4.3. Pattern Clipboard

6.5.1 Capabilities of a song

6.5.2 Song number/memory

Vx.xx is a synonym. Here should appear the actual software release version implemented.

In place of "[date]" you should read a date in the format day/month/year, such as 210397 for the 21^st of March 1997.

• At the same time, pattern 1 is loaded in the Edit-Pattern buffer of the Schaltwerk hence the illuminated LED belonging to pattern 1. All other LED’s, functions and parameters are reflecting the state in which pattern 1 was configured previously.
• Pattern 1 is the default pattern at power-on.
• The respective step positions (at power-on, step 1 from all rows) will blink slowly. The running indication is flashing faster at the current step position when the sequencer is running.

The confirmation of the selected tracks can be checked on their related Select LED and by the message in the upper row of the display.

- This means, for example, that track 2 is now selected and its set of parameters is available for editing.

When no select LED is lit, there is no track selected. The display will then show:

The main menus of the parameter groups are:

• (5) Veloc

• (6) Timing

• (7)

• (9)

• (10) Reserved for future extension
• (11)

• (12) Pattern tools

• (13) Song Tools

• (14) Song Sequence

• (15) Remote

• (16) Sync

7.4.1 Step left/Decrement

One step to the left, specifies a precise step - used additionally in many menus. i.e. decrease a value.

7.4.2 Step right/Increment

Same as above but to the right and value increase.

7.4.3 MIDI Channel/MIDI Event

If for example, you press the Track select button of track 2, you will get the following message in the display:

("m" relates to the Mastertrack, which, if active, is indicated by a capital "M" in the display)

• Press now, once more, the button (3) of the menu:

If for example, the channel is set to 10 (usually assigned to drums), this value can be changed to any other in the range 1~16, with the rotary encoder.

If you press the menu button (3) once again, you will see:

In the present case, the type of MIDI event selected for this track is Note-Event.

• With the rotary encoder the Setting can go through the following list:
• "NoteEv" - Note-Event (Note-On + Note-Off)
• "PolyAft" - Polyphonic-Aftertouch
• "Contrl" - Controller
• "MonAft" - Monophonic-Aftertouch
• "PitchB" - Pitch-Bend

One more press of this button will bring:

Access to this parameter was added from version 1.1 upwards. Machines with version 1.0 do have an "OFF" as normal condition.

• If you are the owner of a version 1.0 machine that you have updated to 1.1, you should check this parameter for all 8 tracks of each pattern to ensure that it is effectively set to "OFF", or set it to "OFF" otherwise.
• With this parameter, you can now set a Program-Change message and simultaneously transmit it on the MIDI channel selected for that track. (A setting of 1~128 = MIDI Program-Change 1~128)
• By calling (selecting) a pattern, its preset Program-Change is sent out automatically.
• Care should be taken not to send more than a single Program-Change per MIDI channel. Multiple sends will override the previous ones, only the last one being effective. If you get the wrong sound when recalling a pattern, the cause might be that different Program-Changes in multiple tracks have been set with the same MIDI channel value.
• Program-Changes are putting a load on the sound generators, especially if fast streams of notes are simultaneously playing. Then, depending on the device, slight or even strong timing problems can occur, causing disturbance in the sound.
• The behavior of this function is strongly dependent of the sound generator used. Its functioning cannot be guaranteed to 100%, and in extreme cases, such as linking of patterns (1~2, 1~2~3~4, or Song-Modes), it should be left OFF if problems subsist.

7.4.4 Note Number - Track/Step

Besides being instructed about dealing with MIDI data, the information still needs to be expanded in some practical messages, among which:

• Note-Events - Which note (pitch) to deal with.
• likewise for the Polyphonic-Aftertouch.
• Which controller is the information for, and what’s its controller number.
• For Program-Change there is a location with its particular number.
• For Pitch-Bend, the actual pitch inflection value must be set (a value of 64 is the neutral value, and thus equates to no Pitch-Bend)
• For Monophonic-Aftertouch is this value unimportant.
• This value is adjusted in the Note Number Menu.

This brings us to the following message:

As the value 36 appears, a "C" will be sent.

• Of course, the name of this value depends on the MIDI Event Type, In case of a controller, this will be "controller number" and the indication "C" will be superfluous. For simplification, this information is always displayed. It is relevant for note values only, which is the case in 99% of applications. For events, other than Notes, don’t be confused by the note name displayed, and only take into account the numerical value, "036" in this example.
• This global value is effective for all 16 steps of a track.
• By multiple press on the menu button, you should come to the following indication:

Furthermore, the step position is also shown in the display:

In this example, the step position 1 is selected.

"SNo" is the abbreviation of Step Note, after the colon comes the value of the Note number.

• These values can be set separately for each of the 16 steps of a track.

7.4.5 Velocity Track/Step

The velocity value is 127, which translates to a level of 100%.

• This global value controls all 16 steps simultaneously.

Similarly to the setting of Note numbers, the Velocity value can be adjusted for each step.

7.4.6 Step, Gate & Delay time

For example, the Step time could be set to:

For example:

• With the Delay time it is possible to define for each track a delay interval.

7.4.7. End step/Start step/Run mode

For example:

The track will start playing from step 8 up to step 15, and then loop back to step 8.

• The desired operation mode can also be set for each track.

Forward

Where "X" can be any value in the range 1~5.

Backward

Where "X" can be any value in the range 1~5.

Alternate

Where "X" can be any value in the range 1~5.

Pendulum

Where "X" can be any value in the range 1~5.

• The indications Up and Down are taken from the arpeggio vocabulary, where they were defined initially. With these modes it is easy to create very interesting arpeggio-like patterns.
• With Alternate, the first and last step will be played twice each, with Pendulum mode, they will be played only once.
• Beside the basic pattern-play modes (Up, Down, Alternate and Pendulum), various modes can be chosen. The Schaltwerk can automatically transpose the tracks: For a 1 octave range, after playing the track the "normal" way, this will be repeated with a note offset of +12 (1 octave). Followed again by the original tone range and so on. For 2 octaves, the order is: original, original +12, original +24, original, etc.
• These functions inspired by the arpeggio world do offer here a similar and excellent service.
• For the time being, the Up/Down mode known in arpeggiators, is not available.
• Alternate and Pendulum modes go through a complete run, back and forth, before transposing up or down the next progression.

7.4.8 Effect menu

• To say that the Schaltwerk includes an arpeggiator is not exactly right.
• But rather, that the sequence control of the individual tracks is applied to the incoming Note-Events, so that arpeggio-like effects are rendered.
• Furthermore, the notes of the arpeggio are directly put into the step note memory location, so that they are immediately processed, and can be individually (de)activated. The difficult task of developing simple arpeggiated polyrythmic structures can be carried very simply.
• Qualify this effect as an arpeggio was the closest word available at hand.
• You should take note that this effect is not a cleverly custom designed arpeggiator but rather a byproduct of the Schaltwerk concept.
• You will perhaps miss some typical arpeggio-like functions, but the wide offering and possibilities of functions previously unavailable in this form, will present a fair match.
• To use this effect, you connect a master keyboard at the input 1, make it send its data on MIDI channel 1, and set the same channel to a free track of the Schaltwerk i.e. track 2.
• To proceed, you adjust the note number to 0 (zero), so that the arpeggio sequence will not be transposed yet, something you can change later for an even more pleasant effect.
• In the effect menu you should set the arpeggiator to MIDI input 1.

The note will play repeatedly at the Schaltwerk tempo. In accordance, the arpeggiator will set the first step, so that you should normally hear something.

• When you release the key, the sound stops. You can check that the note in step 1 is still available. Releasing all the keys will switch back to step 1.
• If you now press 3 keys, you will see the position indicator run from step 1 to step 3 repeatedly.
• Therewith, to hear the complete arpeggio pattern, the steps 2 and 3 must also be switched on.
• Release now the keys successively and the running span of the Step cursor will shrink accordingly, down to step 1.
• If you set the arpeggiator to OFF while holding some keys, their notes will continue to be sequenced, even when releasing them.
• When you take a look at the End Step parameter, this one is now set to 3.
• If you now check the 3 note values, these are exactly the last ones played on the keyboard.
• The arpeggiator is realized through the simple system of checking an incoming note and assign it to the next Step position available. The End Step counter is also incremented by 1. This system works up to 16 notes.
• By releasing a key, the End Step counter is simply decremented.
• The Step-Note values remain unaffected but stop playing because of the decrease in the End Step counter.
• Not only are the Step Note values taken into consideration but also their velocities which are assigned to their respective Step Velocity locations, to get a very lively arpeggio.
• If no new notes are received while the arpeggiator is active, all Step Notes & Velocities are held and can be further processed.
• You can, for example, set the End Step to a higher value and the previously hidden notes will reappear in the arpeggio sequence.
• You can also try to (de)activate various steps to see what kinds of polyrythmic patterns are possible with this stylistic approach.
• You can also change the operating mode of the track from "UP" to "UP-1 Oct." or "UP-2 Oct., etc.
• Doing so, will also make the arpeggiator musical results correspondingly complex and rich.
• A hold function is available for the arpeggiator through the sending of a ArpHoldController (see MIDI-Remote-Menu). If an "ON" message (controller value higher than 63) is received on the appropriate MIDI channel, the arpeggio will be held as long as the message is effective. New notes won’t be taken into account as long as an "OFF" message is not received.
• The "ON" message is indicated in the menu by a "!" sign at the end of the line.

• Another mode similar to arpeggio, but offering an entirely different set of effects, is the Record-Step-Mode.

Another mode to transfer individual notes from the MIDI input to the Step-Memory is the Overdub-Mode.

In this mode, in contrast to the Record-Step-Mode, the sequencer behaves "normally" and attempts to catch the "separately played" notes on the fly and assign them to the current Step position, while running.

• One further press on the Effect button brings the following message:

It means that the transpose function for the selected track is currently switched off. Of course, you can, as in the previous menus, set the function to achieve a transposition of the Note-Events with the data coming from MIDI in 1, MIDI in 2, or both.

• In this context, transposing means that the value of the note coming at the activated MIDI input will be added to the value of the present note, if their MIDI channels match.
• It is recommended to adjust the keyboard or any other MIDI-note generating device to a very low range (usually through its own transpose function), otherwise the sum of the note numbers will quickly reach very high values, translating to very high pitched notes.
• All effects have a lower processing priority than the primary tasks of the Schaltwerk, so that under high load conditions, such as fast note changes or great amount of incoming MIDI data, noticeable delays could be heard.
• Stricto sensu, the hereabove described transpose function only applies to tracks 1 to 7. The transpose function of the Master Track (8) is working in a special way.
• With the present transpose function, it becomes very difficult to get a simultaneous transpose of multiple tracks with different MIDI channels, as it will be the case with most multitimbral MIDI setups. To do that, you should own a Master Keyboard able to send the same note on multiple MIDI channels at once, a feature you won’t usually dedicate entirely to transpose the tracks of the Schaltwerk.
• To circumvent this shortcoming, instead of offering the same transpose function as for tracks 1~7, the Master Track, when activated, can transpose all other activated Tracks. The tracks you wish to transpose must have their various transpose parameters (MIDI channel, Input) activated, to the exception of the transpose value which becomes irrelevant as this information will be carried from the Master Track. It should be noted that there won’t be a double transposition as you were perhaps presuming.
• The transpose of master track is not linked to the transpose values of the other tracks, but replaces them.

• The next press of the Effect-Menu button will bring you the next message:

The next press of the button will bring:

• With the techniques seen in the menus, almost all effects can be activated simultaneously.
• Gater-Mode & Chord-Mode are mutually exclusive.
  When one of these modes is activated, the other one is not available anymore. If the currently used mode is no longer needed, it has to be switched off, before access to the other one is possible.
• As some parameters are common to both effects, editing one of these effects could overwrite the data in the other one.
• While it is normally avoided to manipulate the parameters this way, this can bring very interesting results anyway.
• It is however important to know with which priority the effects are processed.
• The processing order of the effects is: The Arpeggio comes first, then the Record-Step, the Transpose calculation follows, and the Overdub capture is closing the list.
• Both the Gater and the Chord-Trigger run from the first effects mentioned in the previously explained independent settings.
• A note change in the Chord-Trigger function will not be effective on the chords already struck, but from the next occurrence onwards.

7.4.9. Edit/Mute mode

The third possibility is:

7.4.10 Unused

7.4.11 Track tools

Will initialize Track 5.

7.4.12 Pattern tools

In addition, it is allowed to

Where [VALUE] can be any of:

or pattern number

• These dumps can be stored with any suitable program, such as a conventional sequencer program, and archived for later use.
• Should these Dumps be sent back to any MIDI in of the Schaltwerk at any time, they will be transferred to the appropriate Pattern memory locations where they will replace the previous data, as long as no failure occurs during the transfer.

• You should take note that sending back Dumps of one or several Patterns/Songs into the Schaltwerk while it is running may strongly affect its timing accuracy. It is therefore recommended to stop the sequencer before this operation. In extreme cases, it is possible that the data dumped will not be received correctly. This will be displayed as a failure.
• When a faulty transfer occurs, the memory locations related to the Pattern/Song data just sent, will always be only partially updated. Be sure that there are no illegal values lying in the memory as there could be a mismatch between old and new Pattern/Song data.

7.4.13 Song tools

7.4.14 Song menu

The activation of the Song Seq. Menu leads us to:

• Besides the simple display of the pattern number during song play, the next function of the menu offers a monitor mode where the current song status is also shown.

The display will be very similar to the previous one:

Two empty steps will be inserted at step position 3.

Two steps will be deleted from step position 3.

7.4.15 MIDI remote menu

Set the MIDI channels for XXX, as Pattern-Change, and YYY, as Song-Change.

• Usually, the channel numbers set for pattern and song changes will be different, as a value of 128 pattern is using the full potential of different Program-Changes available in a single MIDI channel.
• The next step is to define a correspondence table between pattern numbers and Program-Change numbers. The same can be done for songs.
• In case of multiple assignation of Program-Change values, the foremost Pattern/Song will be selected.
• Press then the necessary Pattern (and Pattern-Bank) button(s), then adjust the rotary encoder to link a Program-Change to that pattern.

In this example, the pattern 1 will be called upon reception of Program-Change #1

• Similarly, by pressing a Song button (and Song-Bank button), that specific song can be linked to a given Program-Change.

It is also possible to set a controller for the arpeggio and chord functions.

These Arpeggio and Chord controllers are set to activate a hold function upon reception of the corresponding MIDI message.

Usually, master keyboards are equipped with a set of pedals used for Sustain and Sostenuto (controller # 64 & 66). If your keyboard is only able to manage a single pedal, you can assign any other controller, such as the modulation wheel (controller # 1) in replacement of the second pedal.

• In version 1.0 of the software, the controller values for Arpeggio and Hold were predefined as Sustain and Sostenuto. From software version 1.1 onwards, these can be freely defined by the user.
• All the settings done in this menu are automatically saved in non-volatile memory.

7.4.16 Sync menu

In most applications the Schaltwerk is working with its own timebase.

The Schaltwerk can however follow an external clock.

• from MIDI input 1

7.5.1 Loading of pattern in the Pattern edit buffer

7.5.2 Song-Mode inactive

If the same operation was to be performed while the sequencer is running, the new pattern would instantly replace the one in the buffer, resulting at best in a glitch in the rhythm flow, and at worst, in hanging notes, etc. The human reaction time and behavior of the pattern buttons are by far too inaccurate to ensure a proper chaining of patterns.

• This is why a master track system was adopted. Therefrom, the currently playing pattern has to elapse before the new one plays in turn seamlessly.
• The master track is locked to track 8.

The character "m" in the display is for the master track, which, when selected is indicated by a capital "M" instead of number "8".

• Until the end of the currently playing pattern is reached, its LED remains steady lit, while the LED of the newly called pattern is flashing.
• At the transition time, the ending pattern LED goes off, and the starting pattern LED goes on.

7.5.3 Song-Mode active

7.5.4 Modes 1~2 and 1~2~3~4

• The dual and quad pattern links can be played as songs on their own, but also included in songs where they will count as single patterns, while playing their whole link.
• Practically, these song macros will be used to realize patterns with more than 16 steps: 32 steps with mode 1~2, and 64 steps with mode 1~2~3~4.
• While these 2 and 4 pattern sets are effectively operating as single patterns, all patterns constituting them should nevertheless be edited and saved separately. By contrast, they are not accessible individually during play, as they are chained automatically.
• The pattern editing capability is disabled during play, as the potential changes are temporary and overwritten by fetching the next pattern to play.
• To confirm that a pattern is part of a 1~2 or 1~2~3~4 link, the relevant link LED will lit when such a pattern is called.
• The link modes can be (de)activated at any time by pressing the relevant link mode button.
• This link information is global and stored in non-volatile memory.
• When linked patterns are used in a song, their link status is respected in executing the song.
• The link starts by playing the pattern called and thus not automatically the first pattern within the link, it will however always end with the last pattern in the link.

This may be needed

• At first use.
• In case of data corruption by a mains failure
• In case of corrupted data that cannot be processed properly.
• The reset procedure is done by holding down the Start button while applying the power to the machine.

The following warning is then displayed:

Afterward, the entire memory is erased and initialized.

• This will take a few seconds, afterwards the Patterns and Songs will be loaded with default parameters.