EMC schmidt User Manual

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Page 1

USER MANUAL

VERS. 1.0

Page 2

IMPORTANT SAFETY INSTRUCTIONS

WARNING – When using electric products, basic precautions should always be followed, including the

following:

1) Read all the instructions before using the product.

2) Do not use this product near water – for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like.

3) This product should be used only with a cart or stand that is recommended by the manufacturer.

4) This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in your ears, you should consult an audiologist.

5) The product should be located so that its location does not interfere with its proper ventilation.

6) The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat.

7) The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product.

8) The power-supply cord of the product should be unplugged from the outlet when left unused for a long period of time.

9) Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings.

10) The product should be serviced by qualified personnel when: a) The power-supply cord or the plug has been damaged; or b) Objects have fallen, or liquid has been spilled onto the product; or c) The product has been exposed to rain; or d) The product does not appear to operate normally or exhibits a marked change in performance; or e) The product has been dropped or the enclosure damaged.

11) Do not attempt to service the product beyond that described in the user-maintenance instructions.

All other servicing should be referred to qualified service personnel.

DANGER: INSTRUCTIONS PERTAINING TO RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS: Do not open the chassis. There are no user serviceable parts inside. Refer all servicing to qualified personnel only.

GROUNDING INSTRUCTIONS: This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for electrical current to reduce the risk of electric shock. This product is equipped with a cord having an equipment grounding connector and a grounding plug. The plug must be plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances.

DANGER – Improper connection of the equipment-grounding connector can result in a risk of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with this product – if it will not fit in the outlet, have a proper outlet installed by a qualified electrician.

SAVE THESE INSTRUCTIONS

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PREPARATIONS

I. PREPARATIONS

UNPACKING 5 ADJUSTING THE FRONTPANEL 5 CONNECTIONS 6 FIRST ENCOUNTER 8

II. FUNCTION OVERVIEW

FRONTPANEL LAYOUT 11 SIGNAL PATH 12

III. PROGRAMMING SOUNDS

OSCILLATOR SECTION 15 GROUP INPUT MODULES 36 FILTER SECTION 38 GROUP OUTPUT MODULES 51 GROUP 1/2 LEVEL MODULATION 52 MASTER ENVELOPE / VCA 55 GLIDE BEND 57 REALTIME CONTROLS 59 PRESET EDIT MENU 64

IV: GLOBAL FUNCTIONS

UTILITY MENU 67 SYSTEM MENU 69 SINGLE PRESET HANDLING 74

V. MULTIMODE

LOAD / SAVE MULTI PRESETS 78 SET UP MULTI PRESETS 79 MULTI UTILITY MENU 85 MULTI SYSTEM MENU 86

VI. APPENDIX

MIDI IMPLEMENTATION 89 TECHNICAL SPECIFICATIONS 98 WARRANTY 100 IMPRESSUM 102

CONTENTS

INTRODUCTION

WHO IS SCHMIDT? (”SH-MITT“)

In an ideal world, Schmidt is the synthesizer you have always been dreaming of. Well, anyway, this is the synthesizer Mr. Stefan Smith, err, Schmidt – the creator of Schmidt – has always dreamed of. And – again in an ideal world – you and Mr. Schmidt are sharing the same dream (in terms of synthesizers, of course). However, your new Schmidt synthesizer is a very personal and very special affair. It is the vision of an engineer dedicated to sound, conceived and perfected in close collaboration with musicians and music producers alike, brought to live in the most uncompromising way imaginable. Now this dream has nally come true and is right here in front of you within an arm‘s reach – congratulations if this arm is yours! Of course, Mr Schmidt and everybody else who has had the pleasure of having been involved in turning this dream into reality, would like to say a big „Thank you!“ to you. We all hope that your new Schmidt synthesizer will serve you as a creative, inspirational musical instrument for many years to come.

SCHMIDT‘S SKILLS

Schmidt‘s sound generation engine features virtually everything that subtractive synthesis is endowed with – and even

more so: The Oscillator section offers functions to shape very complex sounds with that probably have never been

available in the analog domain thus far. The powerful lter section Schmidt offers is like a fully programmable modular

synthesizer system. You have plenty of modulation routings that excel even your wildest dreams – and rest assured, we know that synthesizer players like you tend to have really wild dreams. Sometimes, you even get up late at night to

tweak some controls, don‘t you? See, this is how well we know you!

USER MANUAL CONVENTIONS

In this manual we use some format conventions, hoping to make things a lot clearer. You will nd the following formats:

• Cutoff represents a physical control on Schmidt‘s panel you are asked to work on.

• Space represents a parameter name.

• ON represents a parameter value/state that is indicated either by a lit LED or as data readout on Schmidt‘s LCD. We take it you know that „LED“ stands for „light-emitting diode“ whereas „LCD“ means „liquid

crystal display“. We thought we should point this out though as these terms keep popping up throughout the text.

Represents some important note. It is so important we do not even know as yet what it is. Further reading seems thus recommended!

Sometimes you will be asked to perform a certain sequence of steps. Such a sequence looks e.g. like this:

1 - Select Ramp = ”CLK” on both LFOs. 2 - Select any waveshape (”LFO MODE”) on LFO VCF 1. This setting, in combination with the

LFO 1 Rate setting, determines the waveshape that modulates VCF 1.

3 - Select desired waveshape of LFO VCF 2. This setting, in combination with the LFO 2 Rate setting,

determines the waveshape that modulates VCF 2. 4 - Hit Ramp in LFO VCF 2 again. The „Special“ LED lights up and indicates that both LFOs are now running in sync.

5 - Alter Mode (waveshape), Rate and Time settings of both LFOs as you please.

We tried to keep this user manual as compact as possible. That‘s why we deliberately avoided descriptions of

synthesizer basics. If you are new to synthesizer technology and sound generation in general, we advise you to go

on a quest for some secondary literature that you can nd on the web or in specialist magazines, like e.g. Keyboard

Magazin or Sound On Sound. Always a good read are classic books like those written by Allen Strange, Devarahi, Beaver & Krause, or others.

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PREPARATIONS PREPARATIONS

PREPARATIONS

UNPACKING

Schmidt was delivered to you in a custom-made high-quality ight case. Every time you take Schmidt with you on the road or to recording sessions, using this tailor-made case is recommended since it is the only adequate way to keep

Schmidt really save from harm and the rigors of traveling. In a pinch, it serves well as a bench or doorstop, too.

When unpacking Schmidt, please take its relatively high weight (tipping the scales at about 35 kg / 70 lbs) into account – actually, it is really heavy. Shifting Schmidt by two people is a wise thing to do unless you are keen on hernia.

People with Polymoog or CS80 experience will probably shrug this caveat off with a smile but don‘t say we didn‘t warn

you.

Because of Schmidt‘s high weight you should carefully pick an adequately robust support or table as well. Make sure

the support / table is large and sturdy enough to carry Schmidt safely, even during your wildest keyboard performances. Beer crates – full or empty – will not do a proper job… at least not on the synthesizer – but perhaps on your performance. Feel free to share yourself with us.

Please make sure the ventilation grills on Schmidt‘s rear panel are not obstructed. There is a lot of electronics inside,

and be sure we did our best to keep those little electrons busy all the time and bring them out in a sweat!

ADJUSTING THE FRONT PANEL

Schmidt‘s front panel can be adjusted to various angles. Raise or lower the front panel and the front panel support

as you feel most comfortable with. Make sure the support locks safely into the recesses on the underside of the front panel.

Lock front panel support here

PREPARATIONS

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PREPARATIONS PREPARATIONS

CONNECTIONS

Power

Connect the mains socket to the power outlet. Schmidt works with voltages ranging from 110VAC to 240VAC and can be connected to any power outlet all over the world. If that isn‘t true internationalism, we don‘t know what is.

Headphones

Connect stereo headphones to the Phones socket on the left of the panel. You can control its volume independently, using the Phones control. Be careful not to blow your eardrums.

Audio Outputs

All audio outs are 6.3 mm (1/4“) unbalanced jacks sporting line level.

Stereo Output L / R:

Provides the stereo master output signal. Level is governed by the Volume control.

Single Voice Output 1 – 8:

Taps the signals of all eight voices individually. The routing of voices 1 to 8 to outputs 1 to 8 is preset in hardware. Their respective output level is also preset and independent of the Volume control setting.

Computer

MIDI-Device

Power Outlet

Mixer / Amplifier

Expression-

Pedal /

external control voltage (0...+5V linear)

Footswitch

(switch function)

A 1: Sustain

A 2: Sostenuto

Audio Outputs Control In/Outputs

Single Voice Outputs 1 - 8 Stereo Output L / R

Control Inputs A

Control

Inputs B

USB

Mains

MIDI

DIN sockets:

Transmits and receives MIDI data. See section ”Global / System / MIDI“ on page 69 for further information. Incoming data on MIDI IN is put through to MIDI THROUGH socket.

USB:

Same function as MIDI IN / OUT sockets.

A Utility menu determines whether Schmidt will receive MIDI data through its USB port or through the MIDI DIN sockets. Please refer to page 68 ”Global Functions / Utility menu / USB/MIDI select“.

Control Inputs

These inputs can be used to control various functions in real-time. They can be assigned to specic parameters, and boy, does Schmidt have many parameters (just in case you haven‘t noticed yet).

For instant Joe Zawinul renditions, the next bit is for you:

Control Inputs A 1 - 4:

Connect up to four footswitches here to control up to four on/off or toggle functions. The assignment procedure will be covered later as there are various types of footswitches around that all have different types of polarity, latched operation etc.

• Control input A 1 provides a Sustain function.

• Control input A 2 provides a Sostenuto function.

• Control inputs A 3 and A 4 can be assigned to several functions (not yet implemented!)

Control Inputs B 1 – 4:

Connect up to four expression pedals or external control voltages here to control up to four parameter values continuously. The assignment procedure will also be covered later on page 54, section „Performance Controllers“. These inputs accept voltages from 0V to +5V.

• Control inputs B 1 to B 3 can be assigned to several functions.

• Control input B 4 provides a volume control function.

Warning: Never exceed the external control voltages of +5V or serious damages may occur!

These features will not only keep your ngers busy but also your feet. Make your band‘s guitarist look pathetic while

you are stomping away on your Schmidt pedal board. But do not try to sling Schmidt around your neck while you are at it…

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PREPARATIONS PREPARATIONS

FIRST ENCOUNTER

We suppose you are by now hot on getting a rst impression of Schmidt other than a visual one. This is how to get

some sounds out of Schmidt without the bother. All explanations concerning ”why, when, and what“ will be covered later. Enjoy yourself, get carried away... but please do not forget to continue reading this manual some time later. We know it is hard but…

POWERING UP

Bring Schmidt to live using the Power switch on the rear panel. Schmidt will be idle for about three seconds while booting. Once he is done with that, he is eagerly waiting for your input.

Warning: Handle Volume and Phones controls very carefully. Schmidt can produce excessive levels that could possibly be harmful to your hearing – or your cat!

LISTENING TO PRESETS

Schmidt has a memory capacity of 1024 internal sound settings, called Presets. A distinction has to be made between Single and Multi presets. In Single Mode, Schmidt produces one sound at a time, the same all across the entire keyboard. In Multi Mode, Schmidt is capable of producing up to eight different sounds at a time that can be stacked, layered or divided across the keyboard. All presets are easily controlled and managed using the Edit and Preset sections in the lower right corner of the front panel.

After powering up, Schmidt is in Preset Load Mode which allows for immediate access to the presets. Have a look at the Preset / Edit / Global sections in the lower right corner of the front panel.

Loading Single Presets:

1 - Hit Mode until the SINGLE LED lights up. 2 - Hit Preset up/down or turn Value control to step/scroll through the Single presets. The LCD (liquid

crystal display, you remember?) shows bank number as well as preset number and name.

3 - Hit Enter to load the selected Single preset.

Hit the Quick Load key to enable the Quick Load option. Now you do not need to hit Enter anymore to load a selected preset.

Preset

Single/Multi-Presets load, save, name, compare

Hit Bank up/down to select the Single preset bank. The Quick Load option also works for bank selection.

Adjust the Phones and/or Volume controls to a comfortable listening volume. Again, take care of your ears (”huh,

whatcha sayin‘?“).

Use joystick, pitch and modulation wheels as desired but please bear in mind that not every preset necessarily

makes use of these. The complete set of functions of the left-hand panel will be covered on page 59, section Real

Time Controllers.

Tweaking Presets

Unlock the front panel settings by hitting Edit Enable to tweak presets. Simply reload the preset to return to the version previously stored in memory. Of course you can store edited presets. The store function will be covered later.

As soon as you turn a control or hit a switch, the LCD will show the name of the corresponding parameter as well as the value stored in memory and the edited value for about three seconds. After that, the screen will return to its normal state.

Loading Multi Presets:

1- Hit Mode until the MULTI LED lights up. 2 - Hit Preset up/down or turn Value control to step/scroll through the Multi presets. 3 - Hit Enter to load the selected Multi preset.

Hit Quick Load to enable Quick Load option. Now you do not need to hit Enter anymore to load the selected preset.

Hit Bank up/down to select the Multi preset bank. The Quick Load option also works for bank selection.

Bank 1 Single

(Preset Edited)

VCF1 Cutoff

Prog: 76 Edit : 163

Parameter name

Parameter value

Preset (programmed) current (edited)

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FUNCTION OVERVIEW FUNCTION OVERVIEW

FUNCTION OVERVIEW

Now that you have got a vague idea of how impressive Schmidt can sound, you might be curious to learn more about

its inner secrets. In this section, you will – step by step – nd out about Schmidt‘s features and what is going on under

the hood of your new mighty synthesizer.

FRONTPANEL LAYOUT

On the frontpanel, you will nd all the sections spread out in front of you from left to right, according to the signal path. About 95% of the sound generation functions can be accessed without using the LCD and menus. That means, even

though it is quite a complex beast, Schmidt is pretty intuitive to work on once you are familiar with the way its functions

are organized and accessed.

As you have already learned, Schmidt is an eight-voice polyphonic synthesizer boasting real analog signal generation. To be more accurate, the audio signal path is fully analog for the biggest part. All modulation routings are

digitally controlled in order to provide outstanding results at the highest possible degree of precision. Let‘s have a peek at Schmidt‘s guts on the following page.

II.

FUNCTION OVERVIEW

Oscillator-Section

provides four audio oscillators with envelopes and LFOs for oscillator modulation

Filter-Section

provides five filters with envelopes and LFOs for filter modulation

Group 1 + 2

two parallel signalpaths, generating different sounds for both stereo channels

Group In Mix

mixes oscillator signals and routes them to the filter inputs of Group 1 and Group 2

Group Out Mix

mixes filter outputs of Group 1, Group 2 and VCF 3 to a stereo signal

Level Modulation

generates a stereo panorama and LFO panning

Glide / Bend

generates pitchbending and portamento effects

Edit / Global

parameter value display and global functions

Preset

preset handling

Master ENV / VCA

modulates main out level

Group 1 + 2

two parallel signalpaths,

generating different sounds

for both stereo channels

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FUNCTION OVERVIEW FUNCTION OVERVIEW

SIGNALPATH

Above you see a brief overview of Schmidt‘s signal path: Four OSCILLATORS (two of them with additional Sub Oscillator) send their signals into a routing matrix which is called GROUP IN. Here, each Oscillator signal is routed into the lter section which provides three parallel signal paths. Filter Section Group 1 and 2 are identical and pretty complex in themselves. They can shape two entirely different timbres out of the incoming Oscillator signals. The third

lter section VCF 3 is an add-on to fatten up things a bit more. In the GROUP OUT section, the three signals are mixed down into a stereo sum which is fed into the Level and Panning Modulation section, and nally into the master VCA. This one controls the master volume before the nal stereo signal is sent to the outputs. Whew!

Using our trusty old magnifying glass, we will go much deeper into detail soon. We will follow the signalpath from left to right:

Let‘s have a look at the Oscillator section rst (left handed):

• Oscillator 1 and 2 (each with Sub Oscillators) feed their signals into Group In 1 and/or Group In 2.

• Oscillator 3 and 4 also feed their respective signals into Group In 1 and/or Group In 2.

• Oscillator 2 can modulate Oscillator 3 (frequency modulation and ring modulation) and can be hard-synced to it

as well for even more timbral variety.

• Oscillator 4 is ring-modulated with Oscillator 1.

Each Oscillator is equipped with more or less complex modulation routings (essentially frequency/pitch and pulse-

width) with their own dedicated modulation sources.

Oscillator 1

Sub-Osc

RMRM

Audio

Audio Modulation

Sync

Oscillator 2

Oscillator 3

Oscillator 4

Sub-Osc

G r o u p

O u

L e v e l

M o d

P a n n i n g

M o d

P a n n i n g

M o d

L e v e

M o d

G r o u p

O u

VCF 1

Voice Out

Stereo Out / Headphone

Out

VCF 3

Master

VCA

Dual Filter 1

Dual Filter 2

VCF 2

Mod In

In A/B

Out

Out A

Out B

Out A

Out B

Out

In A/B

In A

In B

In A

In B

p 1

VCF 1

Dual Filter 1

Mod In

In A/B

Out

Out A

Out B

In A

p 2

Gou

Dual Filter 2

VCF 2

Mod In

Out A

Out B

Out

In A/B

Group 1

Group 2

r o u p

I n

r o u p

O u

Filter-Section

Group 1

VCF 3

Level Mod

Panning Mod

Master VCA

Filter-Section

Group 2

Oscillator 1

Outs

Sub-Osc

Oscillator 2

Oscillator 3

Oscillator 4

Sub-Osc

You will soon get an idea why, even on Oscillator level, Schmidt is capable of creating very complex timbres that go way beyond conventional analog synthesizers.

The next section of the signal path is split into two parallel groups that will generate two different timbres at the same time: Each group comprises the input router (Group In) and two lters. The VCF is a more or less old-fashioned four-pole

lter (24 dB) that can morph between its different lter response characteristics.

The Dual Filter (DF) is merely a pair of two lters that can be combined with each other to produce a variety of different response characteristics. VCF and Dual Filter each have a different character and ensure a maximum of

tonal and timbral exibility.

Group In 1 sends each Oscillator signal into the VCF and/or one or both inputs (A/B) of the Dual Filter. Apart from

that, the output of the Dual Filter can be fed back into VCF 1. Input B of the VCF can be used to control the cut-off frequency. Mind-boggling? Not really. Take a minute or two to recapitulate the signal path up to this point. Group In 2 works the same way. In addition to that, all Oscillator signals can as well be routed to VCF 3 which is a traditional low- pass lter.

The Group Out sums the output signals of all lter outputs into a single signal which is now modulated in terms of level and pan position. You can have two different sounds in parallel at this point. They can be panned / cross-faded

by the Panning Mod section. The Master VCA generates a nal, global volume envelope and the signals are routed to the various outputs. Please take another minute to recapitulate the second half of the signal path. It is easier than you

might believe at rst sight.

On the front panel, you will nd all the sections spread out in front of you from left to right, according to the signal path. About 95% of the sound generation functions can be accessed without using the LCD and menus. That means,

even though it is quite a complex beast, Schmidt is pretty intuitive to work on once you are familiar with the way its

functions are organized and accessed.

Page 9

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

PROGRAMMING SOUNDS

In this following chapter, we will dig even deeper and nd out about the inner secrets of each section. You will learn

everything about all functions and how to use them. Please read carefully and enjoy while you are at it.

OSCILLATOR SECTION

Schmidt‘s Oscillator section is denitely outstanding (we are a bit proud of that, as you may have noticed already). You will nd lots and lots of routing and modulation options that yield very impressive and complex sounds even on oscillator level. The main assets of Schmidt‘s sound generation are ring and pulse-width modulation – with some

pretty weird details that might be new even to you! By the way, the Oscillators are truly analog with digital control to ensure most precise tuning, tracking, and modulation.

By taking a look at the Oscillator section, you will nd one thing that is common of all of Schmidt‘s modules: Each section (oscillators, lters, panning, VCA) has its own dedicated modulation source (envelopes, LFOs etc.). That is why you will not nd a modulation matrix but lots of modulation sources directly placed within the sound generating /

shaping modules which helps immediacy a lot in our humble opinion.

The Oscillator section features four Oscillators, each with a different scope of functions. Here you will nd all modulation routings and sources relevant to the Oscillator as well.

First, we will check out the functions of each oscillator separately. With the next step we will learn about interaction (modulation) between the various modules.

Oscillator 1

with Sub-Oscillator and two LFOs for (Multi)-PWM

Envelope

four AD-envelopes for pitch-modulation (Osc. 1-4) resp. vibrato

Vibrato

four LFOs for pitch modulation (Osc. 1-4)

Oscillator 3

with dedicated pitch-LFO

Oscillator 4

with LFO for waveform mix

PWM

three LFOs for PWM of Osc 1, 2 and 3

Oscillator 2

with Sub-Oszillator (located in Osc. 3)

III.

PROGRAMMING SOUNDS

Page 10

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

OSCILLATOR 1

Oscillator 1 has some pretty nifty tricks up his sleeve to produce complex timbres. We call it Multi PWM. Its function is

pretty unique and rather complex, so please indulge yourself some time for careful study.

Waveform Generation and Modulation Type / Operation Mode controls:

• Noise Modulation: Pitch of Oscillator 1 is modulated by a noise signal. Controls modulation depth.

• Semitone: Detunes Oscillator 1 up or down by seven semitones.

• Detune: Detunes Oscillator 1 up or down by one semitone, respectively 10 cent up / down

(if Fine key is pressed).

• Kbd Scale: Alters the Detune depending on the played note on the keyboard. Reference point is key A3: 1/2: Two octaves below A3 quadruples Detune; two octaves above A3 quarters Detune. 1/4: Two octaves below A3 doubles Detune; two octaves above A3 halves Detune. OFF: Detune is independent of the played note on the keyboard.

The Kdb Scale function is useful to control the beat frequency between the oscillators more precise for lower and higher note ranges.

• Octave: Octave setting of Oscillator 1.

• Sub Oscillator: Octave setting of Sub Oscillator 1 (square wave).

No LED active: Sub Oscillator is not active.

Please note: The octave setting of the Sub Oscillator is independent of the main Oscillator, i. e. the Sub Oscillator can have a higher setting than the main Oscillator. If main and Sub Oscillator have the same octave setting, the output signal can be almost inaudible due to phase and

frequency cancellation.

• Wave: Waveform / modulation type of Oscillator 1. Please refer to the following chart for all available

settings:

Wave key setting Waveform Modulation Type Modulation Source

R Square Pitch Vibrato LFO, Noise

PWM Pulse

Pulse

Pitch Pulse Width

Vibrato LFO, Noise PWM LFO 1

S Sawtooth Pitch Vibrato LFO, Noise

S + PWM

(see note below)

Two phase-shifted saw-

tooth waveforms

Pitch Phase Modulation

Vibrato LFO, Noise PWM LFO 1

Width LFO

Modulation-Type/

Operation Mode

WaveformGeneration

Space LFO

Wave key setting Waveform Modulation Type Modulation Source

MULTI PWM

(see note below)

Complex Wave Pitch

Waveform-Mod (depending

on Mode setting)

Vibrato LFO, Noise Width/Space LFOs

MULTI PWM + PWM Complex Wave with PWM Pitch

Waveform-Mod (depending

on Mode setting) Above + Pulse Width

Vibrato LFO, Noise Width/Space LFOs

PWM LFO 1

NOISE Slightly coloured noise none none

S + PWM

When S and PWM are enabled, the Oscillators ( Osc 1 as well as 2 and 3) produce two sawtooth waves that are

phase-modulated – that means, their respective peaks are shifted against each other. The shift amount is determined

by the Center parameter which can be modulated by the PWM LFO.

Multi PWM

When MULTI PWM is enabled, the remaining controls of the Oscillator 1 section become active. But now it is about time to clear up what is meant by ”Multi PWM”:

In Multi PWM mode, Oscillator 1 generates four pulse-waves in parallel that are combined in various ways to produce

complex waveforms. There are several parameters with which to control the shape of the resulting waveform:

• Space / Width: Space and Width determine the ratio between peaks and troughs of the four pulse-waves. Depending on this ratio, the resulting waveform takes on different shapes. Please refer to the upper section of the gure on page 20. These two parameters can be controlled independently by two dedicated LFOs.

• Mode: Beyond that, modes 1 to 3 determine the way how the four pulse-waves are combined. As a result, each mode again produces different waveshapes. Please refer to the lower section

of the gure on page 20.

In mode 4 (OSC 4 > RINGMOD), the resulting waveform that is produced by the process of mode 3 is additionally ring-modulated by Oscillator 4.

The gure on the following page shows all available modes and their operation.

Center

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OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

Mode key setting Modulation Type Modulation Source

MODE 1 Pitch

Waveform-Modulation

Vibrato LFO, Noise PWM LFO 1

MODE 2 Pitch

Waveform-Modulation

Vibrato LFO, Noise PWM LFO 1

MODE 3 Pitch

Waveform-Modulation

Vibrato LFO, Noise PWM LFO 1

MODE 4 Pitch

Waveform-Modulation Waveform-Mod (Ringmodulation)

Vibrato LFO, Noise PWM LFO 1 Oscillator 4

Space

Pulswave 1

Altered ratio between Space value and Width value => the four source waveshapes partially overlap

Space value significantly higher as Width value

=> the four source waveshapes do not overlap

No cancellations / amplification in resulting waveshape

Pulswave 2

Pulswave 3

Pulswave 4

Pulswave 1

Pulswave 2

Pulswave 3

Pulswave 4

Resulting waveshape

Mode 1: 1 + 2 + 3 + 4

Mode 2: 1 + 2 – 3 – 4

Mode 3: Cancellations and constant level

Width

LFO Controls Oscillator 1

The remaining controls belong to the Multi PWM Space and Width LFOs:

• LFO Depth: Modulation depth of Space / Width.

• Velocity: Modulation depth depends on keyboard velocity.

• LFO Rate: Modulation rate of Space / Width.

• LFO Mode: Modulation waveform of both LFOs

STEP: Space LFO produces Sample & Hold function (stepped waveform) while the S&H frequency is controlled by the Rate parameter of the Width LFO (LFO Diffuse has to be disabled!). /\/\/\ : Continuous triangular wave /\ : One-shot triangular wave I\ : One-shot saw wave

• LFO Diffuse: Each of the four pulse waves are modulated with different intensity (only Space LFO).

• LFO Rate

Kbd Scale: Scales the modulation speed (LFO Rate) of the LFO across the keyboard. Reference point is key A3: 1/2: Two octaves above A3 – quadruples LFO rate; two octaves below A3 quarters LFO rate. 1/4: Two octaves above A3 – doubles LFO rate; two octaves below A3 halves LFO rate. OFF: Space / Width LFO rate is independent of played note position on the keyboard.

One important note on modulation depths:

Not only the current control setting of a parameter, but also the values of all other modulation depth controls are added

to the nal value of the resulting modulation depth. Please note that modulation depth usually has negative values as

well. If the resulting modulation depth value exceeds the total parameter range, certain modulators can have little or

no effect on the entire modulation. For example, if you set the Space control to 3 o‘clock position and add a high LFO

depth value, an additional second modulator (e.g. velocity) might produce no audible effect. Please refer to page 62. It shows the summed modulation depth values for the VCF1 cut-off.

Oscillator 1 modulation paths

To make things even clearer (we are not being sarcastic, mind you!), we will cast a look under the hood of Oscillator 1 and examine all signal and modulation inputs and outputs.

Have a look at OSC1 in the gure on the next page. From right to left, you can see all the different modulation inputs

and their controls:

Inputs:

• Space and Width LFOs to control Multi PWM.

• The PWM input that is fed by the PWM LFO 1.

• The ring-modulation input that is fed by Oscillator 4.

• The noise modulation input with its amount control and its connection to the Oscillator envelope (more on this

later).

• The pitch modulation input that is fed by the pitch envelope, the Vibrato LFO (more on this later) and the noise

source.

• The Tuning and manual pitch controls.

Outputs:

• The audio output with a mix of main- and sub oscillator signals.

The modulation sources in the left half of the image will be covered as soon as we managed the other oscillators.

Page 12

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

Noise

Mod

Pitch Mod

Multi

PWM

Multi PWM

Vel.

Tune

PWM

Ring mod

from Osc 4

OSC 1

SUB-OSC 1

LFO-

Space

P W M

L F O

Sync

LFO- Width

Vel.

E n v e

l o p e

Vel.

i b r a t o

L F O

Vel.

Noise

Mod

Pitch

Mod

Multi

PWM

Multi

Vel.

Tune

Ring

mod

OSC 1

SUB-OSC 1

LFO-

Space

LFO-

Width

Sync

Vel.

Audiosignals, Ring-Modulation

Modulation-Depth

Modulation-Depth with additional Velocity Control

Sync

Pulsewidth-Modulation

Pitch/Noise-Modulation by Envelope 1

Pitch-Modulation by Vibrato LFO 1

OSCILLATOR 2

Oscillator 2 is much more basic. You will gure out pretty quickly. Oscillator 2 has a

Sub Oscillator but for technical reasons, it is fully controlled from the panel section of Oscillator 3.

• Noise Modulation: Pitch of Oscillator 2 is modulated by a noise signal.

• Semitone: Detunes Oscillator 2 up or down by seven semitones.

• Detune: Detunes Oscillator 2 up or down by one semitone respectively 10 cent up / down

(Fine key pressed).

The Kdb Scale function is useful to control the beat frequency of the oscillators more precise for lower and higher note ranges.

• Octave: Octave setting of Oscillator 2.

• Wave: Waveform / modulation type of Oscillator 2.

Wave key setting Waveform Modulation Type Modulation Source

R Square Pitch Vibrato LFO, Noise

PWM Pulse

Pulse

Pitch Pulse Width

Vibrato LFO, Noise PWM LFO 2

S Sawtooth Pitch Vibrato LFO, Noise

S + PWM Two phase-shifted sawtooth

waves

Pitch Phase Modulation

Vibrato LFO, Noise PWM LFO 2

Osc 3 => Ringmod Complex Wave

Complex Wave

Pitch Ring Modulation

Vibrato LFO, Noise Oscillator 3

Noise Slightly coloured noise none none

The phase modulation mode (S + PWM) is described in the Oscillator 1 section above.

The signal and modulation inputs of Oscillator 2 are closely related to Oscillator 3. That is why we will examine them when dealing with Oscillator 3.

Waveform

Generation

Page 13

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

OSCILLATOR 3

Oscillator 3 is somewhat special again. It has outstanding ring-modulation power and it is closely related to Oscillator 2. Take some time to explore it carefully.

• Noise Modulation: Pitch of Oscillator 3 is modulated by a noise signal.

• Semitone: Detunes Oscillator 3 up or down by seven semitones.

• Detune: Detunes Oscillator 3 up or down by one semitone resp. 10 cent up / down (Fine key pressed).

• Kbd Scale: Alters Detune independent of the note played on the keyboard. Reference point is key A3:

1/2: Two octaves below A3 quadruples Detune; two octaves above A3 quarters Detune. 1/4: Two octaves below A3 doubles Detune; two octaves above A3 halves Detune. OFF: Detune is independent of the played note on the keyboard.

• Octave: Octave setting of Oscillator 3.

• FM Depth: Intensity of frequency modulation by Oscillator 2 (exponential FM).

• Wave: Waveform / modulation type of Oscillator 3.

The following chart shows which waveforms are available within the available types of modulation. Please note that most of the different modulation types (pitch, FM, ringmod, PWM) are available at the same time.

Wave key setting Resulting Waveform Modulation Type Available Modulation Source

R Square

Complex Wave Complex Wave

Pitch FM Ringmod

Vibrato LFO 3, Noise, Pitch LFO Oscillator 2 Sub Oscillator 2

PWM Pulse

Pulse Complex Wave Complex Wave Complex Wave

Pitch Pulse Width FM Ringmod Ringmod + Pulse Width

Vibrato LFO 3, Noise, Pitch LFO PWM LFO 3 Oscillator 2 Sub Oscillator 2 Sub Oscillator 2, PWM LFO 3

S Sawtooth

Complex Wave Saw/Pulse Mix Complex Wave

Pitch FM Amplitude Modulation

Ampl-Mod + Ringmod

Vibrato LFO 3, Noise, Pitch LFO Oscilliator 2 PWM LFO 3 PWM LFO 3, Sub Osc 2 (Phase +/–)

S + PWM 2 phase-shifted saw-

waves Complex Wave

Pitch Phase Modulation FM

Vibrato LFO 3, Noise, Pitch LFO PWM LFO 3 Oscillator 2

Noise Slightly coloured noise none none

Pitch LFO

Sync

Modulation-Type/

Operation Mode

WaveformGeneration

Modulation Type / Operation Mode controls

• Ringmod Osc2 => Osc3: Selects the ring-modulation source (Osc 2 or Sub Osc 2) and enables / disables Sub Oscillator 2, depending on the setting of the ”Wave“ key.

• Osc2 SubOsc: Selects the octave range of the Sub Oscillator of Oscillator 2 or the octave range of the ringmod source respectively. No LED means Sub Oscillator is ”OFF“.

The following gure shows the interaction of the three function keys Wave, Ringmod Osc2 –> Osc3 and Osc2 SubOsc.

The phase modulation mode (S + PWM) is described above in the Oscillator 1 section.

Button Setting

Result

Output Sub Oscillator 2

Output Oscillator 3 / Modulation type

Square Wave

No modulation

Ringmodulation

Sub Osc 2 modulates Osc 3 (Square)

Modulated Pulse Wave

Osc 3 gets PWM from PWM LFO 3

PWM / Ringmodulation

Sub Osc 2 modulates Osc 3 (with PWM)

PWM / Ringmodulation

Osc 2 (with PWM) modulates Osc 3 (with PWM)

disabled

Square Wave 32“ - 4“

Saw Wave

No modulation

Saw Wave mixed with slightly amplitude-modulated Square Wave

Modulation controlled by PWM LFO 3

Phase-modulated pair of Saw Waves

Modulation controlled by PWM LFO 3

Noise Signal

No modulation

As above with additional Ringmodulation by Sub Osc 2

Ampl. Modulation controlled by PWM LFO 3

Ringmod controlled by Osc 2

disabled

Page 14

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

• Sync: Synchronizes Oscillator 3 to Oscillator 2. Sounds particularly interesting when ring-modulation is enabled as well.

• Additional Pitch Modulation: Enables additional unctions to control the pitch of Oscillator 3 independently of the

Vibrato LFO. You will nd here another LFO as well as controls for coarse/ne pitch

and velocity amount.

• Main Pitch: Shifts the pitch of Oscillator 3 up or down by approximately two octaves or sets the

range of the Pitch LFO respectively.

• Fine Pitch: Fine adjustment of Main Pitch.

• Velocity (control): When turned up, keyboard velocity directly controls the pitch of Oscillator 3 with

positive or negative amount. The entire Additional Pitch Modulation section is great

for expressive ring-modulation and sync sounds.

• LFO Depth: Modulation Depth

• Velocity (key): LFO Depth is controlled by keyboard velocity.

• LFO Rate: Modulation speed

• LFO Mode: /\ : Continuous triangular waveform

/I : One-shot rising slope I\ : One-shot falling slope SPECIAL: Space for future updates

• Pitch => Level Osc 3: Modulates the output level of Oscillator 3 according to the Pitch LFO settings.

Oscillator 2/3 modulation paths

The gure on the next page shows the entire signal routing with inputs and outputs of Oscillators 2 and 3.

Oscillator 2 is quite simple – there are just three modulation inputs and one modulation output:

Inputs:

• The PWM input fed by PWM-LFO 2.

• The pitch modulation input fed by the pitch envelope, the Vibrato LFO and the noise source.

• The controls for Tuning and manual pitch control.

Outputs:

• Oscillator 2 sends a sync signal to Oscillator 3.

Oscillator 3 is a bit more mind-boggling. Let‘s check out all its modulation inputs:

• The ring-modulation input fed by Oscillator 2 or Sub Oscillator 2.

• The PWM input fed by PWM LFO 3.

• The FM input fed by Oscillator 2.

• The pitch modulation input that is fed by the pitch envelope, the Vibrato LFO, the noise source, and the

„Additional Pitch Modulation“ with controls and LFO.

• The controls for Tuning and manual pitch control.

• The sync input fed by Oscillator 2.

The „Additional Pitch Modulation“ section can also control the output level of Oscillator 3.

Pitch Mod

Level

Mod

P W M

L F O

Sync

Noise Mod

Tune

PWM

OSC 2

SUB-OSC 2

Vel.

Noise Mod

Tune

PWM

Ring Mod

OSC 3

l o p e

Vel.

i b r a t o

L F O

Vel.

WML

Sync

Vel.

Pitch

Mod

Noise

Mod

Tune

OSC 2

SUB-OSC 2

Pitch

Mod

Noise

Mod

Tune

PWM

Ring

Mod

OSC 3

Audiosignals (Ring-Modulation, FM)

Modulation-Depth

Modulation-Depth with additional Velocity Control

Sync, Level-Modulation

Pulsewidth-Modulation

Pitch/Noise-Modulation by Envelope 2, 3

Pitch-Modulation by Vibrato LFO 2, 3

Vel.

Add. Pitch Mod

M/F- Pitch

LFO

Vel.

Add. Pitch Mod

M/F

Pitch

LFO

Page 15

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

OSCILLATOR 4

Yes, there actually is a fourth Oscillator! It is also quite

special but a lot less complex than Oscillator 3. It is entirely

based on ring-modulation and produces complex wave-

forms.

Oscillator 4 features a chain of ve ring modulators that are fed by six pulse-waves with different pulse-widths each. The product of Ringmod 1 is ring-modulated by the third pulse-wave and so on. Depending on the internal parameter

settings, two groups of 32 wave presets each are generated.

Waveform Generation and Mod LFO controls

• Noise Modulation: Pitch of Oscillator 4 is modulated by a noise signal.

• Main Tune: Detunes Oscillator 4 up or down by one octave.

• Fine Tune: The control handles three functions depending on the key setting:

FINE TUNE: Detunes Oscillator 4 up or down by about one semitone VELOCITY: Routes keyboard velocity to pitch with positive or negative amount. KBD SCALE: Determines keyboard / pitch scaling. In center position, each key produces the same pitch.

• Octave: Octave setting of Oscillator 4.

• Mode: Sets the ring-modulation algorithm:

CLEAN: Produces harmonically related waveforms, resulting in a clean sound. RINGMOD: No harmonically related waveforms, resulting in a more noisy, dissonant or chiming sound.

• A / B Mix: Crossfades between two wave presets.

• Swap A / B: Switches both wave presets: A becomes B and B becomes A.

32 Wave-Presets

Output A

Output B

3 4 5 6

RM RM RM RM

Mod LFO

WaveformGeneration

Preset

1 x

cont.

Preset

Rate

Velocity Velocity

Level

Preset

• Velocity: Puts wave preset morphing under velocity control.

• Mix A / B Panning: Enables a dedicated LFO to crossfade between the wave presets automatically.

OFF: LFO disabled. A => B: Crossfades between presets A and B. A => B => A: Crossfades between presets A to B and back to A. A <=> A REPEAT: Continuous crossfade between A and B.

• Rate: LFO frequency

Oscillator 4 modulation paths

The following gure shows the entire signal routing with inputs and outputs of Oscillator 4.

Inputs:

• The wave crossfade / mod input fed by the internal LFO.

• The pitch modulation input that is fed by the pitch envelope, the Vibrato LFO, and the noise source.

• The Tuning controls for manual pitch control.

Outputs:

• The audio output is split and used as ring modulation source for Oscillator 1.

LFO

Vel.

Pitch Mod

Noise Mod

Tune

Wave Mod

OSC 4

E n

l o p e

V i b r a t o

L F O

Vel.

134

Vel.

LFO

Vel.

Pitch

Mod

Noise

Mod

Tune

Wave

Mod

OSC 4

Audiosignals, Ring-Modulation

Modulation-Depth

Modulation-Depth with additional Velocity Control

Pitch/Noise-Modulation by Envelope 4

Pitch-Modulation by Vibrato LFO 4

to Osc 1 Ring Mod

Waveform-Modulation

Page 16

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

PWM LFOS

These three LFOs are used to control pulse-width

modulation (PWM) of Oscillators 1, 2, and 3. They are all designed identically. The parameters controlled by a knob can be adjusted individually, the key functions are the same for all three LFOs.

• Center: Pulse-width of pulse waveform or phase shift amount of saw waves respectively (please refer to description of Oscillator 1 on page 19).

• LFO Depth: Modulation depth.

• LFO Rate: Modulation frequency.

• Assign to Rate 2/3: Assigns rate setting of LFO 1 to LFOs 2 and 3.

• Min/Max Limit: Limits LFO modulation depth in order to prevent signal cancellation when pulse-width

goes beyond a certain level.

• LFO Depth Velocity: Adds keyboard velocity to LFO Depth value.

• LFO Mode: Modulation waveform:

/\/\/\ : Continuous sine wave /\/\/\ : Continuous triangular wave I\ : One shot sawtooth wave

• LFO Rate

Kbd Scale: Scales the modulation speed (LFO Rate) of the PWM LFO across the keyboard. Reference

point is key A3: 1/2: Two octaves above A3 quadruples LFO rate; two octaves below A3 quarters the LFO rate. 1/4: Two octaves above A3 doubles LFO rate; two octaves below A3 halves LFO rate. OFF: PWM LFO rate is independent of played note position on the keyboard.

LFO Osc 1 common LFO settings

LFO Osc 2 LFO Osc 3

VIBRATO LFOS AND ENVELOPES IN THE OSCILLATOR SECTION

The Oscillator section features some more modulation sources to generate dynamic pitch modulation. For this

purpose you will nd a set of four LFOs (one for each Oscillator) and another set of four envelope generators (again

one for each Oscillator). That is truly generous.

Vibrato LFOs

These four identical LFOs govern the pitch of the four Oscillators. Each Oscillator can be controlled by its dedicated LFO. The LFOs can be programmed individually or globally. All four LFOs share the same set of controls.

• Wave: Vibrato LFO waveform : Sine wave : Square wave S/H: Stepped random wave +S/H: Smooth random wave (both LEDs ON) Special: Space for future updates

• Vibrato Depth: Modulation depth.

• Vibrato Rate: Modulation frequency.

• Edit: Selects LFO to be edited.

• Copy: Copies settings from one LFO to another: 1 - Select e.g. LFO 1 using the Edit key. 2 - Adjust settings for LFO 1. 3 - Hit Copy key. OSC 2, OSC 3 and OSC 4 LEDs will start ashing. 4 - Hit Edit again to select LFO that is to have the settings of LFO 1. Its LED keeps ashing. 5 - Hit Copy again to perform copy procedure. 6 - Repeat 3 - 5 to copy LFO 1 settings to other LFOs.

Assign to Osc. 1/2/3/4: If set to ”ON”, this function temporarily applies settings of the selected LFO to all other LFOs.

Settings return to programmed values as soon as Assign is disabled. This way it is easy to e.g. temporarily alter the rate of all four LFOs globally at the same time and return to their programmed individual settings by just hitting the Assign key once.

Please note: when using the Copy function or selecting an envelope, Assign to Osc. 1/2/3/4 has to be disabled!

Page 17

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

Envelopes

These four identical envelope generators directly govern the respective pitch of the Oscillators. Also, they provide dynamic control over assigned parameters like Vibrato Depth and Noise Modulation intensity. A simple example of application would be vibrato fading in and out. Each Oscillator can be controlled by its dedicated envelope. The envelopes can be programmed individually or globally. All four envelopes share the same set of controls.

• ENV Destination: Selects the destination parameter: PITCH: Oscillator pitch VIBRATO DEPTH: Modulation depth of the corresponding Vibrato LFO (e.g. ENV 1 controls Vibrato LFO 1). NOISE MOD: Modulation depth of Noise Modulation. SPECIAL: Space for future updates

• Mode: Determines the shape of the envelope: DECAY EXP: Exponential response DECAY LIN: Linear response ATTACK/ DECAY: Rising and falling envelope SPECIAL: Space for future updates

• ENV Depth: Determines modulation depth:

- No pitch / vibrato / noise modulation in center position.

- When turned clockwise, the pitch rises or the vibrato / noise modulation intensity fades in

respectively.

- When turned counter-clockwise, the pitch lowers or the vibrato / noise modulation intensity

fades out respectively.

• Velocity: Includes keyboard velocity into ENV Depth values.

• ENV Time: Controls the duration of the envelope cycle or shortens and/or extends modulation fade in/out

respectively.

• Quantize: Provides a stepped progression of pitch rise / fall. Only active when ENV Destination „PITCH“ is enabled.

• Edit: Selects envelope to be edited.

• Copy: Copies settings from one envelope to another: 1 - Select e.g. envelope 1 by hitting Edit key. 2 - Adjust settings for envelope 1. 3 - Hit Copy key. OSC 2, OSC 3 and OSC 4 LEDs will start ashing. 4 - Hit Edit again to select envelope that is to have the settings of envelope 1. Its LED keeps ashing. 5 - Hit Copy again to perform copy procedure. 6 - Repeat 3 - 5 to copy envelope 1 settings to other envelopes.

• Assign to

Osc 1/2/3/4: If set to ”ON”, this function temporarily applies settings of a selected envelope to all other

envelopes (has to be disabled when using the Copy function / selecting envelopes!).

Settings return to programmed values as soon as Assign is disabled. This way it is easy to e.g. temporarily sweep the respective pitch of all three Oscillators globally and return to their programmed individual settings by just hitting the Assign key once.

OSCILLATOR MODULATION AND INTERACTION

Congratulations, you have just managed all the controls of Schmidt‘s mightily powerful Oscillator section. In order to recap and deepen your knowledge, we will now have a look at the entire Oscillator section and nd out about how all the different modulation paths are connected to the four Oscillators and their modiers. You can use the following

illustrations in combination with your recently gained knowledge of the Oscillator functions.

Pitch Modulation

The following gure shows the pitch modulation paths of all four Oscillators except the Oscillator envelopes.

Pitch Mod

from ENV 1

from ENV 1-4

from ENV 2

from ENV 3

from ENV 4

Pitch Mod

Level

Mod

Tune

OSC 1

SUB-OSC 1

Tune

OSC 2

SUB-OSC 2

Vel.

Tune

Pitch

Mod

Tune

OSC 3

OSC 4

i b r a t o

L F O

Vel.

Pitch

Mod

Tune

OSC 1

SUB-OSC 1

Vel.

Pitch

Mod

Tune

OSC 2

SUB-OSC 2

from ENV 3

Pitch

Mod

Tune

OSC 3

Pitch

Mod

Tune

OSC 4

Modulation-Depth

Modulation-Depth with additional Velocity Control

Level-Modulation

Pitch-Modulation by Vibrato LFO 1-4

Vel.

Add. Pitch Mod

M/F- Pitch

LFO

Vel.

M/F

Pitch

LFO

Page 18

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

Here you will see the pitch modulation paths of all four Oscillators with envelopes but without the Vibrato LFOs.

Noise Mod

Pitch

Mod

Pitch Mod

Level

Mod

Tune

from Vibrato

LFO 1

from Vibrato

LFO 2

from Vibrato

LFO 3

from Vibrato

LFO 4

Vibrato LFO 1-4

OSC 1

SUB-OSC 1

LFO

Noise Mod

Tune

OSC 2

SUB-OSC 2

Vel.

Noise

Mod

Tune

Pitch Mod

Noise

Mod

Tune

Wave Mod

OSC 3

OSC 4

E n v e l o p e

Vel.

Noise

Mod

Pitch

Mod

Tune

OSC 1

SUB-OSC 1

Vel.

Envel

Pitch

Mod

Noise

Mod

Tune

OSC 2

SUB-OSC 2

Pitch

Mod

Noise

Mod

Tune

OSC 3

LFO

Vel.

Pitch

Mod

Noise

Mod

Tune

Wave

Mod

OSC 4

Modulation-Depth

Modulation-Depth with additional Velocity Control

Level-Modulation

Pitch/Noise-Modulation by Envelope 1-4

Vel.

Add. Pitch Mod

M/F- Pitch

LFO

Vel.

M/F

Pitch

LFO

Pulse Width Modulation

This gure shows the interaction between the Oscillators and their PWM modiers or the waveform modulation LFO of

Oscillator 4 respectively.

Multi PWM

Vel.

PWM

OSC 1

SUB-OSC 1

LFO-

Space

P W M

L F O

Sync

LFO- Width

LFO

PWM

OSC 2

SUB-OSC 2

Vel.

PWM

Wave Mod

OSC 3

OSC 4

Vel.

Multi

PWM

Vel.

PWM

OSC 1

SUB-OSC 1

LFO-

Space

LFO-

Width

Sync

Vel.

OSC 2

SUB-OSC 2

PWM

OSC 3

LFO

Vel.

Wave

Mod

OSC 4

Modulation-Depth

Modulation-Depth with additional Velocity Control

Pulsewidth-Modulation (Osc 1-3)

Waveform-Modulation (Osc 4)

Page 19

OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING

Ringmodulation, FM and Sync

Here you will see the signal routing of the audio modulation paths (FM and ring-modulation) as well as the sync connection.

Ring mod

OSC 1

SUB-OSC 1

Sync

OSC 2

SUB-OSC 2

OSC 3

OSC 4

OSC 1

SUB-OSC 1

OSC 4

OSC 2

SUB-OSC 2

Ring

mod

OSC 3

Audiosignals (Ring-Mod, FM)

Modulation-Depth

Sync

Complete Oscillator modulation routing

Finally, you can have a look at the complete Oscillator modulation routing. Please note that all these modulations can

be used all at once if so desired. You have got the entire scope at your ngertips, from the purest and most beautiful

timbres to absolute sonic mayhem – please feel free to experiment.

Noise Mod

Pitch

Mod

Pitch Mod

Level

Mod

Multi PWM

Vel.

Tune

PWM

Ring mod

OSC 1

SUB-OSC 1

LFO-

Space

P W M

L F O

Sync

LFO- Width

LFO

Noise Mod

Tune

PWM

OSC 2

SUB-OSC 2

Vel.

Noise

Mod

Tune

PWM

Ring Mod

Pitch Mod

Noise Mod

Tune

Wave Mod

OSC 3

OSC 4

E n

o p e

Vel.

L F O

Vel.

Noise

Mod

Pitch

Mod

Multi

PWM

Multi

PWM

Vel.

Tune

PWM

Ring

mod

OSC 1

SUB-OSC 1

LFO-

Space

LFO-

Width

Sync

Vel.

Pitch

Mod

Noise

Mod

Tune

OSC 2

SUB-OSC 2

Pitch

Mod

Noise

Mod

Tune

PWM

Ring

Mod

OSC 3

LFO

Vel.

Pitch

Mod

Noise

Mod

Tune

Wave

Mod

OSC 4

Audiosignals (Ring-Modulation, FM)

Modulation-Depth

Modulation-Depth with additional Velocity Control

Sync, Level-Modulation

Pulsewidth-Modulation

Pitch/Noise-Modulation by Envelope 1-4

Pitch-Modulation by Vibrato LFO 1-4

Vel.

Add. Pitch Mod

M/F- Pitch

LFO

Vel.

M/F

Pitch

LFO

Page 20

GROUP INPUT – PROGRAMMING GROUP INPUT – PROGRAMMING

GROUP INPUT MODULES

When recalling the function overview on page 11, you might remember that, beyond the Oscillator section, Schmidt‘s

signal path is divided into two parallel and almost identical sections. Each of these sections, called Groups, sports

a lter array to shape the Oscillator timbres with. Splitting up the signal path into two parallel groups allows for the creation of two very different timbres out of the Oscillator signals at the same time. Apart from the lters, which we will

explore soon, both groups contain input and output routing modules that allocate the different Oscillator signals to the

available lter inputs, and later combine the lter outputs into one stereo signal. Following the signal path, we will have a closer look at the Group Input modules rst.

Group Inputs:

Each Group has two parallel lters (VCF and Dual Filter / DF) and each of these lters has two inputs (A and B). All four

Oscillator outputs can be routed to each of these inputs by using the controls of the Group Inputs.

Group 1 In

signal source selection and mixer for filter inputs Group 1

Group 2 In

signal source selection and mixer for filter inputs Group 2

Oscillator 1

Sub-Osc

RMRM

Audio

Audio Modulation

Sync

Oscillator 2

Oscillator 3

Oscillator 4

Sub-Osc

r o u p

I n

r o u p

I n

G r o u p

O u t

L e v e l

o d

P a n n i n g

o d

P a n n i n g

o d

L e v e l

o d

G r o u p

O u t

VCF 1

Voice Out

Stereo Out /

Headphone

Out

VCF 3

Master

VCA

Dual Filter 1

Dual Filter 2

VCF 2

Mod In

In A/B

Out

Out A

Out B

Out A

Out B

Out

In A/B

In A

In B

In A

In B

VCF 1

Dual Filter 1

Mod In

In A/B

Out

Out A

Out B

In A

In B

Dual Filter 2

VCF 2

Mod In

Out A

Out B

Out

In A/B

In A

In B

Group 1

Group 2

GROUP 1 IN

Group 1 In feeds both lters of group 1 with all available Oscillator signals. You will nd the following controls:

VCF 1

• Input A: Selects one Oscillator output and routes it to input A of VCF 1.

• Level A: Adjusts the level of the signal fed into input A of VCF 1.

• Input B: Selects one Oscillator output and routes it to input B of VCF 1.

• Level B: Adjusts the level of the signal fed into input B of VCF 1.

• Input B => Filter Modulation: Feeds the signal of Input B into the cut-off modulation input of VCF 1 instead of Input B to produce lter frequency modulation.

• DF1 Out => VCF1: Adjusts the signal amount that is fed into the input of VCF 1 by Dual Filter 1 output. The standard parallel conguration of VCF 1 and DF 1 is now gradually morphed into a serial conguration.

Please note that the parallel outputs are still available together with the serial routing.

DF 1

• Input A: Selects one Oscillator output and routes it to input A of Dual Filter 1.

• Level A: Adjusts the level of the signal fed into input A of Dual Filter 1.

• Input B: Selects one Oscillator output and routes it into input B of Dual Filter 1.

• Level B: Adjusts the level of the signal fed into input B of Dual Filter 1.

• Mix A+B: Mixes inputs A and B.

GROUP 2 IN

Group 2 In feeds both lters of group 2 with all available Oscillator signals. Group 2 is structured exactly like Group 1.

Page 21

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

FILTER SECTION

As has previously been mentioned, the lter section is divided into two nearly identical groups to provide two different

sonic treatments of the Oscillator signals in parallel. In addition to this, a third signal path can be found which feeds a

very simple lter. After the lter section, the signals are combined in a stereo sum.

Since both groups and their respective lter sets are structured in an almost identical fashion, we will focus on just one

group in detail and discuss the little differences later.

The following gure shows the controls of the entire lter section. As with the Oscillator section, the lter section also

contains all the necessary modulation sources (envelopes and LFOs).

Oscillator 1

Sub-Osc

RMRM

Audio

Audio Modulation

Sync

Oscillator 2

Oscillator 3

Oscillator 4

Sub-Osc

G r o u p

O u t

L e v e l

o d

P a n n i n g

o d

P a n n i n g

o d

L e v e l

o d

G r o u p

O u t

VCF 1

Voice Out

Stereo Out /

Headphone

Out

VCF 3

Master

VCA

Dual Filter 1

Dual Filter 2

VCF 2

Mod In

In A/B

Out

Out A

Out B

Out A

Out B

Out

In A/B

In A

In B

In A

In B

Group 1

Group 2

VCF 3

VCF 1

Dual Filter 1

Mod In

In A/B

Out

Out A

Out B

In B

Dual Filter 2

Out A

Out B

VCF 2

Mod In

Out

In A/B

In A

Group 1

Group 2

VCF 1

Moog style filter Group 1 with envelope and LFO for cutoff modulation and LFO for level modulation Input B Group 1

VCF 3

12 dB Lowpass filter

Dual Filter 1

Dual-Multimode Filter Group 1

Dual Filter 1/2

Modulation of Dual Filter 1 and 2 (LFO, Ramp-Gen.)

Dual Filter 2

Dual-Multimode Filter Group 2

VCF 2

Moog style filter Group 2 with envelope and LFO for cutoff modulation and LFO for level modulation Input B Group 2

Lets use our magnifying glass again. The following gure shows the entire signal path of one group plus lter 3 in a

more detailed way:

On the left-hand side you see the Group In module with the level controls and routing keys. Centrally, you will nd the three lters (one group plus lter 3). On the right-hand side you will see the Group Out Mix module that combines the lter outputs.

FILTER 3

Let‘s start with Filter 3. Its a very simple 12 dB (two-pole) low-pass lter. The cut-off frequency can be adjusted but not modulated (no envelops or LFOs). It

does a good job when fattening up signals even a bit more. It also adds some girth to harsh and gritty timbres if so desired.

• Input: Selects one Oscillator output and routes it to the input of VCF 3.

• Cutoff: Cut-off frequency of VCF 3 (no modulation).

+ +

Input

Level

Filter Mod

Level

DF Out > VCF

Level

Group

Out

Filter 3

VCF

Distorsion

Dual Filter

Input

Mix

A+B

FiltMod

A>B

Input

Dual Filter

FiltMod

A>B

VCF

Filter 3

Distorsion

Page 22

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

VCF 1 / 2

Each VCF uses two inputs (A and B) that are combined. The VCFs are 24 dB (four-pole) lters with resonance and continuously variable response characteristics. In low-pass mode, they equal the classic Moog lter. Response characteristics, cut-off frequency and resonance can be adjusted, cut-off frequency can be modulated by keyboard position (Key Follow), keyboard velocity, envelope, and LFO. Input B can be used as cut-off modulation source as

well. Each VCF sports an envelope generator and an LFO. LFOs can be combined and synced to each other. An additional modulation source controls the level of input B (Level B Mod).

Filter Controls:

• Filter Mode: Shifts the lter response characteristics continuously from low-pass to band-pass to high-pass.

• Cutoff: Cut-off frequency.

• Resonance: Resonance intensity.

Cut-off modulation controls:

All values are added to the resulting modulation depth. Please refer also to section „Real Time Controllers“ on page 62.

• Key Follow: Adds the key position to cut-off modulation amount. Negative values invert the effect.

• Velocity (control): Adds keyboard velocity to cut-off modulation amount. Negative values invert the effect.

• ENV Depth: Adds the envelope to cut-off modulation amount. Negative values invert the polarity of

the envelope.

• LFO Depth: Adds LFO modulation to cut-off modulation amount. Negative values invert the effect of the LFO curve.

• Velocity (key): When enabled, keyboard velocity affects the LFO modulation depth.

Filter controls Cutoff modulation controls

Envelope for Cutoff modulation LFO for

cutoff modulation

Ramp/LFO for

Input B

level modulation

(only on VCF 2)

• Source: Selects the LFO(s) from VCF 1 and/or VCF 2 as VCF frequency modulation sources. If both LFOs are selected, their modulation signals are combined. Use different rates and

waveshapes to produce more complex cut-off modulation.

LFO controls:

The LFOs modulate the VCF cut-off frequency periodically. They sport several operation modes:

• In Standard LFO Mode (”Ramp” OFF), ”Rate” controls the LFO frequency and ”LFO Mode” determines the

modulation shape.

• In Fade Mode, the LFO generates a fade in/out modulation. The fade time is adjusted using the ”Time” control.

• In Clock Mode, more complex and random modulation waveshapes are produced. The settings of ”Time”,

”Rate” and ”Mode” determine the resulting modulation waveshape.

The following gure shows the different possible settings and their resulting waveshapes:

Standard LFO Mode:

Fade in/out Modulation Mode (available waveshapes as above):

Clock Mode (different complex waveshapes, depending on ”Mode” setting):

Staircase voltage:

Waveshapes:

(Random)

resulting LFO wave: (staircase voltage)

LFO wave (triangle or sine)

Clock pulses

Time

(Fade)-Time

”Bended“ squarewave (decaying shape):

Random Modulation:

resulting LFO wave: (“bended“ squarewave / decay)

results in randomly altered modulation depths

Clock pulses

LFO wave (square)

Time

Rate

Clock pulses

Time

Rate

all

available

Page 23

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

LFO synchronisation:

LFO VCF 2 can be synchronised to LFO VCF 1. LFO VCF 1 produces a clock signal that is run through a divider and

then fed into LFO VCF 2. That way, both LFOs cannot only run in sync but also at different frequency ratios.

This is how to enable the sync function:

1 - Select Ramp = ”CLK” on both LFOs. 2 - Select any waveshape (”LFO Mode” key) on LFO VCF 1. This setting, in combination with the

LFO 1 Rate setting, determines the waveshape that modulates VCF 1.

3 - Select desired waveshape of LFO VCF 2 (”Mode“). This setting, in combination with the LFO 2 Rate

setting, determines the waveshape that modulates VCF 2.

4 - Hit Ramp in LFO VCF 2 again. The ”SPECIAL“ LED lights up and indicates that both LFOs are now

running in sync.

5 - Alter Mode (waveshape), Rate and Time settings of both LFOs as you please.

The following gure shows the interaction of both LFOs when sync is active.

Please bear in mind that you can swap or mix both LFO signals using the Source keys. Really wild modulation is waiting for you.

LFO VCF 1

LFO VCF 2

Clock pulses of LFO VCF 1

Clock LFO VCF 1

(Time knob LFO VCF 1)

resulting waveshape of LFO VCF 2

”omitted“ wave run

Clk + Special

all

available

all

available

Clock divider 1/1 to 1/8

(Time knob LFO VCF 2)

Time

Clock-Divider (Time LFO VCF 2)

Rate

Waveshape of LFO VCF 2

”Rate” and ”Mode” determine the waveshapes, ”Time” determines the master clock resp. clock divider.

LFO VCF 1

LFO VCF 2

MIDI-clock sync:

Both LFOs can be synced to MIDI clock. These settings have to be executed using a menu. Please have a closer look

at the Edit section on Schmidt‘s panel.

1 - Hit the Menu Key until the PRESET EDIT LED

lights up. You are in the Preset Edit menu now. 2 - Hit Parameter up/down keys to turn the menu pages until you enter the second page of the Preset Edit menu.

Now the LCD shows the following screen:

Use this page to set the sync options of the LFOs of VCF1/2:

• Key-Reset: restarts the VCF1/2 LFOs via note-on information.

• MIDI-Sync: synchronizes VCF1/2 LFOs to MIDI clock. When enabled, you can select between 13 different clock divider ratios. „INT.“ means MIDI clock sync is disabled.

• Cursor left/right: Previous/next function

• Value up/down: Change value

• Exit: Quits Edit LFO Mode 1 page.

Envelope controls:

The envelopes ENV 1 and ENV 2 apply a modulation curve to the cut-off frequency of VCF 1 or VCF 2 respectively.

The following gure shows the envelope curve and its time and level parameters:

Edit LFO Mode 1

Cur : Par Val : Edit Exit / Write

VCF1 Key-Reset: On VCF2 Key-Reset: On VCF1 Midi-Sync: Int. VCF2 Midi-Sync: Int.

Par : Page

Note On Note Off

Sustain Level (Decay 2 OFF)

Sustain Level (Decay 2 ON)

A-Delay

D 1

D 2

Edit LFO Mode 1

Cur : Par Val : Edit Exit / Write

VCF1 Key-Reset: On VCF2 Key-Reset: On VCF1 Midi-Sync: Int. VCF2 Midi-Sync: Int.

Par : Page

Page 24

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

• Trigger Delay: Delays the start of the Attack phase.

• Attack: Adjusts rise time from zero to maximum level.

• Decay 1: Adjusts fall time from maximum level to Sustain Level

• Sustain: Adjusts Sustain level.

• Decay 2 (control): Adjusts fall time from sustain level before receiving note-off message.

• Decay 2 (key): Enables / disables Decay 2 phase.

• Release: Adjusts fall time from sustain level after receiving note-off message.

• Re-Trigger: Retriggers the envelope if a new note-on message is received before the previous envelope

duty circle has been completed fully. OFF: Envelope starts at the current level of the previous envelope duty cycle. ON : Envelope starts at zero level.

• Destination: Determines which envelope modulation parameter is affected by keyboard velocity: OFF: No keyboard velocity on envelope parameters. DEPTH: Keyboard velocity controls envelope modulation depth. ATTACK: Keyboard velocity controls Attack phase. DECAY: Keyboard velocity controls Decay phase.

• Velocity: Adjusts the effect of the keyboard velocity control on the parameters listed above. Negative values invert the effect.

Please note: Do not confuse this with the cut-off modulation control also named ”Velocity” (see above).

Envelope Trigger Repeat:

If Trigger Repeat is enabled, a trigger generator becomes active which continuously retriggers Envelope 1 as soon as

a note-on message comes in. This results in a gate-like chopping effect. Its shape can be controlled by Attack, Decay, and Sustain parameters of envelope 1 (Trigger Delay, and Release become inactive).

The intensity is adjusted individually for VCF 1 and VCF 2 by the ENV Depth controls. Envelope VCF 2 generates its usual ADSR shape that is now controlling the intensity of the effect dynamically. This way you can fade the chopping effect in and out.

• Trigger Repeat (VCF 2): Enables the Envelope Trigger Repeat function.

• Rate (VCF 2): Controls the frequency of the Trigger Repeat.

The following two gures explain the function of the Trigger Repeat:

Note On

Re-Trigger OFF

Note OnNote Off Note Off

Note On

Re-Trigger ON

Re-Trigger OFF

Note OnNote Off Note Off

Note On Note OnNote Off

Note Off

Trigger Gen.

ENV VCF 1

ENV Depth

VCF 1

Cutoff Mod.

VCF 2

Cutoff Mod.

ENV Depth

VCF 2

Reset

Rate

Trigger

Note On/Off

ENV VCF 2

(ADS)

AAD

(ADSR)

Trigger

short Attack short Decay Sustain = 0

long Attack Decay = 0 Sustain = max

Note On Note Off

ENV 1

ENV 2

resulting ENV shape

A R

Rate

Operation principle of the lter envelope trigger generator:

Operation example of the lter envelope trigger generator:

Level B Mod controls:

This section controls the level of the VCF input B. It is a kind of ”mini envelope / LFO combination”. This feature can

be very useful especially when input B is used for cut-off modulation (please refer to section Group In on page 36, 37).

That way you can fade the modulation effect in and out.

• ENV: Determines the shape of the modulation: /I: Rising ramp (one shot) I\: Falling ramp (one shot) /\/\: Triangular waveshape (continuous)

• Time: Adjusts the modulation rate.

• Velocity: When enabled, keyboard velocity affects modulation depth.

Page 25

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

Filter modulation summary:

In order to grasp this rather complex operation fully, please memorize the following gure: It shows the audio signal

path and all modulation paths of the VCF:

• Audio runs from inputs A and/or B through the lter where it is processed further.

• Input B level can be modulated (Level B Mod) and/or used for cut-off modulation in the audio range

(Input B > Filter Mod).

• The output signal of the Dual Filter can be mixed into the VCF input (DF Out > VCF).

In the lower half of the following gure the cut-off modulation sources are displayed: The envelope with its retrigger

generator as well as LFO VCF 1 and LFO VCF 2. Last but not least, the different modulation depth controls (Cutoff, Key Follow, Velocity) are listed, along with the VCF envelope and LFO(s).

+ +

Input

Level

Out

Time

Sync

ENV Ve l

Input B >

Filter Mod

DF Out > VCF

VCF

Input

Level B Mod

Envelope

LFO 1

Cutoff ResoFltr Mode

Cutoff Mod

Modulation Sources

Key

Cut

Vel

ENV LFO

Vel

LFO 2

Retrigger

VCF

Cutoff

Reso

Fltr Mode

DUAL FILTER 1 / 2

Dual Filter 1 and 2 are structured identically. Each of the to Dual Filters offers a pair of parallel multi-mode (statevariable) lters with 12 dB slope each and variable resonance. Each half of the lter section uses its own input (A

and B).

Cutoff and Space can be adjusted separately for each part of the lter section, resonance and response characteristics are governed by a common control for both lters and a selector key. Modulation sources are keyboard

velocity as well as one LFO and one envelope / ramp generator. The latter is shared by Dual Filter 1 and Dual Filter 2. Instead of the internal LFOs, both VCF LFOs can be used as modulation sources.

Individual controls for DF 1 and DF 2:

Filter controls:

• Cutoff: Cut-off frequency

• Space: Spacing between the respective cut-off frequencies of the two lter sections.

Cutoff / Space modulation controls:

• Key Follow: Adds key position to the cut-off modulation amount. Negative values will invert the effect.

• Velocity: Adds keyboard velocity to the cut-off / space modulation amount. Negative values will invert

the effect.

Filter controls

individual controls for DF 1 / 2 common controls for DF 1 / 2

LFO

Cutoff / Space

modulation controls

Envelope / Ramp

generator

Modulation source

assignments

Filter

controls

Filter

selection

Note Position (Pitch)

Cutoff

Frequency

Key Follow ”0”

Key Follow ”+”

Key Follow ”–”

Center ”A3“

Page 26

FILTER SECTION – PROGRAMMING FILTER SECTION – PROGRAMMING

• Env Depth: Adds envelope / ramp generator modulation to cut-off / space modulation amount. Negative values will invert the shape of the envelope / ramp.

• Assign DF 1 Value: (six keys, only DF 2) If enabled, the related parameter uses (copies) the value setting of DF 1.

Again, all values are added to the resulting modulation depth. Please refer to page 59.

LFO controls:

• LFO Depth: Adds LFO modulation to cut-off / space modulation amount. Negative values will invert the effect of the LFO curve.

• LFO DF Rate: LFO modulation rate.

• LFO Source: Selects the LFO that is modulating the Dual Filter:

LFO DF 1 LFO VCF 1 LFO VCF 2

When LFO VCF 1 or 2 is selected, all sync features of these LFOs can be used in conjunction with the Dual Filters.

Common controls for DF 1 / 2:

Filter controls:

• DF1 / DF2: Assigns all following functions to DF1 or DF2. If both LEDs light up, DF2 temporarily uses the settings of DF1. Switching back to LED DF1, reverts to DF2s individual settings.

• Copy: Hitting the Copy key twice copy/pasts the current settings to the respective other Dual Filter.

• Resonance: Resonance intensity can be selected in seven steps.

• Filter Mode AB: Selects the response characteristics of both lter sections:

LP / LP: Both lter sections = lowpass. Producing a 24 dB low-pass lter. LP / HP: Filter A = lowpass, lter B = highpass. Producing a notch lter. BP / BP: Both lter sections = bandpass. Producing a comb lter. HP / HP: Both lter sections = highpass. Producing a 24 dB high-pass lter.

BP / BP => Comb

LP / LP => LP

HP / HP => HP

LP / HP => Notch

Filter A

Cutoff

Space

Filter B

Freq. Freq.

Freq.

Filter A

Cutoff

Space

Filter B

Filter A

Filter B

Cutoff

Space

Filter A Filter B

Cutoff

Space

Modulation source assignments:

• Velocity: Keyboard velocity modulates cut-off or space.

• LFO: LFO modulates cut-off or space.

• ENV: Envelope / Ramp modulates cut-off or space.

• Filter Mod A->B: Output signal of lter section A modulates cut-off frequency of lter section B.

• ENV Depth Velocity: Envelope modulation depth is controlled by keyboard velocity.

Envelope / Ramp generator:

The Envelope / Ramp generator is a modulation source that produces an ADR envelope for shaped modulation or

32 waveshapes for complex continuous modulation of cut-off or space.

• ENV Mode: Selects the operation mode of the Envelope / Ramp generator:

=> ADR - ENVELOPE GENERATOR MODE (shaped modulations). The controls have the following functions:

Trigger Delay: Delays the start of the Attack phase.

Attack: Adjusts rise time from zero to maximum level.

Decay: Adjusts fall time from maximum level before note-off is received.

Release: Adjusts fall time after note-off is received.

=> RAMP - RAMP GENERATOR MODE. (continous modulations). The controls have the following functions:

Ramp Type: Selects 32 different waveshapes.

CLK Rate: Modulation frequency.

Ramp Quantize: Smoothes the selected waveshape. Available settings (shown in the LCD in Schmidt‘s Edit section):

SQUARE: ”Edgy” waveshape MIX 1-3: Three settings with increasingly smoothed waveshapes. RAMP: Rounded, slewed waveshapes # REPEATS: Determines the number of envelope duty cycles from ONE to EIGHT (shown in the LCD). With each repeat, the modulation depth fades out gradually. Great for ”echoing” effects. If value is set to ”CONT”, the modulation is generated continuously just like a conventional LFO but with more complex waveforms.

The following two gures explain both modes, their parameters, and their possible settings:

Note On

ADR Mode

Note Off

A D

Trig.Delay

Page 27

GROUP OUTPUT – PROGRAMMING

FILTER SECTION – PROGRAMMING

Note On

Ramp Quantise

Ramp # of Repeats

ADR Mode

Ramp Mode

Note Off

A D

Note On

Trig.Delay

Clk Rate

Square Mix 1-3 Ramp

1.Repeat 2.Repeat 3.Repeat 4.Repeat etc. (max. 8)

continous

Dual Filter Signal Flow / Modulation Routings:

In order to grasp yet another complex section, please memorize the following gure. It shows the audio signal path

and all modulation paths of Dual Filter 1. Dual Filter 2 works exactly the same way.

Audio is sent into inputs A and/or B, processed and then sent to the outputs A and B. Modulation destinations are

cut-off and space. The available modulation sources are combined and fed into the mod inputs of the lter sections A and B. Apart from that, the output signal of lter A can be fed back into the cut-off modulation input of lter B (Filter

Mod A->B key). Resonance and Filter Mode AB cannot be modulated.

Cutoff Mod

Modulation

Sources

In A Out A

Out BIn B

Dual Filter 1

Dual Filter 2

Velocity LFO

LFO VCF 1

LFO VCF 2

Envelope/Ramp

Space Mod

Key

Cut

Filter

Mod A>B

Vel

Vel Vel

ENV LFO

Space

Cutoff

Vel

ENV LFO

Dual Filter 2

Dual Filter 1

Cutoff

Resonance

Filter Mode

Space Mod

replaces

Cuto Mod B

GROUP OUTPUT MODULES

The Group Output modules come after the lter section. They sum all lter output signals into a stereo signal. You

should be already familiar with the signal path – if you might need a recap, please refer to page 12. The controls for Group 1 Out Mix and Group 2 Out Mix are identical.

• VCF 1 ON: Enables / disables the output of VCF 1.

• VCF 1 Invert: Inverts the output phase of VCF 1.

• Group 1 Velocity: Keyboard velocity controls output level of Group 1. Negative values will invert the effect.

• DF 1 ON: Enables / disables the outputs of Dual Filter 1.

• DF 1 Invert: Inverts the output phase of Dual Filter 1.

• DF 1 Level: Controls the output level of Dual Filter 1.

• Distortion: Distorts the output signal of Dual Filter 1.

• Velocity (control): Puts distortion amount under the control of keyboard velocity.

• VCF 3 ON: Enables / disables the output of VCF 3.

• VCF 3 Level: Controls the output level of VCF 3.

Group 2 controls work exactly the same way.

Group 1 Out Mix

mixer for filter outputs Group 1

Group 2 Out Mix

mixer for filter outputs Group 2

Page 28

GROUP LEVEL MOD – PROGRAMMING GROUP LEVEL MOD – PROGRAMMING

GROUP 1/2 LEVEL MOD

Schmidt‘s advanced architecture allows you to tap two different sound variations at the Group outputs – why not toy around with them a bit? Here we go: Since both Group outputs are routed to one stereo channel, the volume of both

signals can easily be modulated or swept across the stereo panorama respectively. That is exactly what Group 1/2 Level Mod does.

MIX

The Mix controls a cross-fade between both signal outputs of Group 1 and 2 or fades them in and out separately.

• Mode: Determines whether the (cross)fade is performed manually (”MAN“) using the Mix/Delay control or

automatically (”FADE“).

• Mix/Delay: - If Mode key is set to ”MAN”, this control governs the cross-fade manually.

- If Mode key is set to ”FADE“, this control governs the delay time before the fade starts.

The current value setting before the Mode key is switched to “FADE“ determines the sweep level or the minimum level of the Group controlled by the sweep respectively.

• Fade Time: Duration time of the fade.

• Fade (key): Determines the direction of the sweep – please also refer to the following gure:

2 => MIN: Group 2 from full level to Fade level while Group 1 is keeping its level constant. 2 => MIN => 2: Group 2 from full level to Fade level and back to full level while Group 1 is keeping its level constant. 2 => 1: Group 2 is cross-faded with Group 1. 2 => 1 => 2: Group 2 is cross-faded to Group 1 and back to Group 2.

• Swap 1/2: Interchanges positions of both groups.

Mix

crossfade of output signales of Group 1 / 2

LFO

LFO for crossfade modulation

Panorama

panorama control of stereo sum with LFO panning

The following gure will illustrate the different (cross)fade options and their parameters:

LFO

The LFO controls add a level vibrato (tremolo) to both groups.

• Rate: Modulation frequency

• Depth: Modulation intensity

• Wave: Waveform selection of the LFO:

/VV\: Triangular LFO waveshape SPECIAL: Space for future updates

• Re-Trigger: Note-on message restarts the LFO wave at a zero crossing.

• Vel. Depth: Adds keyboard velocity to the level modulation amount.

• Destination: Determines the destinations of the level modulation. The following options are available:

NO LED: LFO modulation disabled. 1: Modulation on Group 1. 2: Modulation on Group 2. BOTH LEDS 1 + 2 Modulation on Group 1 and 2 with identical phase. 1+2– : Modulation on Group 1 and 2 with inverted phase.

PANORAMA

The Panorama controls govern stereo panning of both groups by a dedicated LFO.

• Offset 1: Stereo position of Group 1.

• Offset 2: Stereo position of Group 2.

• Voice Spread: Spreads out Schmidt‘s eight voices across the stereo eld. The width of the stereo eld is

determined by the Offset values.

• LFO Rate: Modulation frequency

StartLevel

Fade Time

Fade Level Fade Level

Delay Time

Group Group

Group

Fade Time

Fade Time Fade Time

Delay

Time

Delay

Time

Delay

Time

Group

Page 29

MASTER ENV / VCA – PROGRAMMING

GROUP LEVEL MOD – PROGRAMMING

• LFO Depth: Modulation intensity

• LFO Mode: Determines the movement of the Group signals within the stereo eld:

/VV\: Continuous panning (triangular waveshape). I\: One movement from left to right / vice versa and back (one shot saw-tooth waveshape). Enables Re-Trigger automatically. /\: One movement from left to right / vice versa and back (one shot triangular waveshape). Enables Re-Trigger automatically.

• Re-Trigger: Note-on message restarts the LFO wave within a zero crossing (triangular waveshape). Always active when LFO one-shot waveshapes are enabled.

• Group Destination: Determines the destinations of the panning modulation:

NO LED: LFO panning modulation disabled. 1: Panning modulation on Group 1. 2: Panning modulation on Group 2. Both LEDs 1 + 2: Panning modulation on Group 1 and 2 with identical phase. 1+2– : Panning modulation on Group 1 and 2 with inverted phase.

MASTER ENV / VCA

This is the main VCA controlled by the master envelope generator. It shapes the volume contour of the entire sound and determines the output volume of a single sound.

• Attack (control): Adjusts rise time from zero to maximum level.

• Soft (key): Softens the initial state of the attack time in order to avoid audible artefacts when wide note

sweeps are played. Very useful with longer attack times.

• Decay: Adjusts fall time from maximum level to Sustain Level.

• Sustain: Adjusts Sustain level.

• Release: Adjusts fall time from sustain level after note-off message.

• Level: Starts the release state below the selected sustain level. When used e.g. with percussive sounds, it produces some kind of ”reverb tail“-effect instead of the familiar fading sound.

• Re-Trigger: Determines the start of the envelope when a new note-on message is received before the

previous envelope duty cycle has been completed. OFF: Envelope starts at the current level of the previous envelope cycle. ON: Envelope starts at zero level.

• Repeat: Repeats (loops) the envelope innitely (not yet implemented – please check www.emc-de.com for updates).

Master ENV / VCA

ADSR envelope for level modulation

Sound Volume

volume single sound

Note On

Re-Trigger OFF

Note OnNote Off Note Off

Note On

Re-Trigger ON

Re-Trigger OFF

Note OnNote Off Note Off

Note On Note OnNote Off

Note Off

Page 30

GLIDE / BEND – PROGRAMMING

MASTER ENV / VCA – PROGRAMMING

The following gure shows the parameters of the master envelope:

• Sound Volume: Determines the volume of the active single sound. This setting is stored within a preset and is

overwritten by turning the global Volume / Phones controls.

Attack-Time

Decay-Time

Note On Note Off

Sustain-Level

Release-Time

Release-Level

Soft

GLIDE / BEND

This section controls the glide / portamento effect for both pitch and lter cut-off frequency as well as the note allocation in single mode. Let‘s start with the latter.

Voice Allocation

• Single Mode: Determines Schmidt‘s voice allocation when running in single mode. POLY: Eight-voice polyphonic MONO: Monophonic (last note priority) BOTH LEDS: Unison mode (eight voices stacked on just one key – last note priority).

In Unison mode (both LEDs on), the Master Tune control (left of the keyboard) determines the detuning of the eight voices. This setting is stored within a preset. To tune such an unison-preset, switch Single Mode to MONO, tune the preset with the Master Tune control and return to UNISON.

Glide / Bend

Depending on the mode selected, glide options and envelope response can be changed:

• Glide Mode: Turns Glide On/Off or selects its response respectively: NO LED: Glide disabled. NORM: Glide enabled. Active with every note trigger. LEGATO: Glide only active when playing legato-style (only available in Mono and Unison modes!)

• Env Trig: Usually set to ON. If Glide Mode is set to ”LEGATO“, this key can be used to enable the triggering of all envelopes.

• Pitch Bend: Sets the range of the pitch bend wheel (up to 12 semitones). Negative values invert the effect of the pitch bender. Depending on a global setting (page 74), this value works just for the current preset or on a global level.

• Glide Time Osc: Glide duration of the Oscillator pitch.

• Glide Time Filter: - Glide duration of the lter cut-off (if ”Individual Assign“ is set to ON).

- Glide depth of pitch and cut-off (if ”Individual Assign“ is set to OFF). In both settings, the glide effect can have different gradations: EXP: The glide time is directly proportional to the interval played. LIN: The glide time is independent of the interval played.

• Individual Assign: Controls the assignement function to pitch and lter cut-off: OFF: Oscillator pitch glide and lter cut-off glide are both controlled simultaneously by the Glide Time Osc control. The Glide Time Filter control governs Glide Depth. ON: Oscillator pitch glide is governed by the Glide Time Osc control. Filter cut-off glide is governed by the Glide Time Filter control.

Bend

Mod depth pitchbend

Voice Allocation

(Poly / Mono / Unison)

Glide

Portamento/Glissando for pitch and filter cutoff

Unisono

Page 31

REALTIME CONTROLS – PROGRAMMING

GLIDE / BEND – PROGRAMMING

The following gure shows the different function states of the Glide / Bend controls in relation to the Individual Assign

control setting:

What is ”Glide Depth“?

As mentioned above, the Glide Time Filter control governs a parameter we call ”Glide Depth”. When playing polyphonically, a standard glide function can sound quite extreme, especially when playing wide intervals using a high

portamento rate. With ”Glide Depth” you can attenuate the glide effect.

An example: Set Individual Assign to ON and choose a medium value for Glide Time Osc. Play some monophonic

lines using wide intervals rst and listen to the glide effect. So far, so well. Now, please play some chord changes, also

using wide intervals. The result might not be all that satisfying as it takes a while for the respective pitches to fall into place. Now disable Individual Assign. The Glide Time Filter control becomes the control of Glide Depth. Set Glide Depth value to e.g. ”2 SEMITONES“ and play the chords again. You will notice that the glide effect is much less intense but musically a lot more useful. This is because the polyphonic notes use a much smaller sweep interval (in this example a maximum of two semitones rather than a full octave or the like) than monophonic notes, played without using the Glide Depth parameter.

Off

Glide Time Oscillator

(Pitch)

Glide Depth

(Oscillator + Filter)

Glide Time Oscillator

(Pitch)

Glide Time Filter

(Cutoff-Freq.)

REALTIME CONTROLS

We will now have a look at the panel to the left of the keyboard. Essentially, it features Schmidt‘s performance controls

and some interfacing to assign them to parameters of a sound.

• Preset Up/Down: Steps through the preset bank selected. Duplicates the Preset keys in the Preset section. If required, enable Quick Load function.

• Volume: Controls the level of the main outputs. Duplicates the Volume control in the Global section.

• Colour: Adjust LED and LC-display color to suit your taste.

• Master Tune: Shifts the tuning of the entire instrument up or down by one semitone. If a preset is using

unisono-mode, this control detunes the voices. Please refer to page 59, section „Voice Allocation“.

• Key Hold: When active, a note played will be indenitely held at the sustain level of the volume envelope

and sounds forever (or for the time you are away to make yourself a sandwich, have a shower, what have you).

• Octave: Shifts the keyboard range up or down by one or two octaves.

The following gure shows the available setting for transposing up. Transposing down works

the same way. The following settings are available:

Performance Controls

• Pitch: „Bends“ the pitch. The range is programmable.

• Modulation: Controls a selectabl sound parameter. The range resp. modulation depth is programmable.

• Stick Control: Controls two selectable sound parameters (X/Y-axis) simultanously. The ranges are

programmable.

Master Tune

Headphone

Socket

Master Volume

Performance

Controls

Performance

Controls

Assignment

Preset

Selection

Octave

Transpose

LED/Display

Colour

Hold

Function

no transpose 1 octave up 2 octaves up

Page 32

REALTIME CONTROLS – PROGRAMMING REALTIME CONTROLS – PROGRAMMING

Real time Controls Assignment

You can assign any of Schmidt‘s parameter controls to one of the real time performance controllers (stick, aftertouch, mod wheel and external input sockets).

Assignment

• Assign: Selects the real time control. The following options are available: X: Stick controller x axis Y: Stick controller y axis AFT: Keyboard aftertouch (pressure) WHEEL: Modulation wheel EXT: External input B sockets (expression pedal, control voltage)

This is how to assign a real time control to a parameter:

1 - Select a real time control, e.g. Mod-WHEEL, using the Assign key.

2 - Now simply turn the control of the desired parameter of a sound, e.g. VCF1 Cutoff, to assign it to the

real time control. The LCD shows the screen in the gure above:

• The upper row shows the real time control resp. the modulation Source, e.g. Mod Wheel (already selected).

• The second row shows the parameter assigned, e.g. VCF1 Cutoff (already selected).

• The third row shows three parameters that can be selected by moving the Cursor. They dene the functioning

of the real time controllers. Hitting the Value up/down keys or moving the Data dial will change the corresponding values:

Mod-Source:

- X-axis stick

- Y-axis stick

- Aftertouch

- Mod.Wheel

- External inputs

Key => Function Assignment:

- Value : Value Range/Direction

- Preset : Mod-Source

- Bank : Link Mod Destination

- Cursor : Cursor

- Exit : Quits menue

- Write : Promts to Utility menue to store controller assignment

Value Range/ Direction:

0..+ 0..– –..+ +..–

00..+ 00..– +..00 –..00

Mod-Destination:

- any parameter control (exceptions see text)

Status

(Active key)

Cursor

Value Range:

12% to 200%

Mod.Wheel

VCF1 Cutoff

0..+ 25% Off

Val Pre : Source Cur Bnk : Dest-Par Exit:Ouit Write:Util.

Controller Direction

This parameter determines the response of the real time control selected. The LCD reads its values like e.g. ” –0..+ “ or ” –..+ “. Eight different settings are available and determine the way the selected real time control works.

The following gure shows the different settings of the Mod Wheel as an example. Aftertouch and External Controllers

work accordingly.

The stick controller and its available parameter settings work a bit differently. The following gure illustrates their operation with the X axis. Y axis works accordingly.

0 +

–

Settings: 0..+ 0..– Perf. Controller whole range from 0 to max/min

Settings: 00..+ 00..– Perf. Controller half range from center to max/min

Settings: +..00 –..00 Perf. Controller half range from max/min to center

Settings: –..+ –..+ Perf. Controller whole range positive and negative (center = 0)

max max

max

max max

max

min min

min

min min

min

–

Settings: –0+ +0– Stick Controller X/Y both directions positive/negative (center = 0)

maxmin

max min

–

Settings: –0– +0+ Stick Controller X/Y both directions positive or negative (center = 0)

–

minmin

max max

–

Settings: –0+ +0– Stick Controller X/Y both directions positive/negative (center = 0)

max

maxmin

max min

–

min

Settings: 00+ 00– Stick Controller X/Y right/up positive or negative (center = 0, left/down inactive)

–

max

–

min

Settings: +00 –00 Stick Controller X/Y left/down positive or negative (center = 0, right/up inactive)

Settings: –0– +0+ Stick Controller X/Y both directions positive or negative (center = 0)

–

minmin

max max

Page 33

REALTIME CONTROLS – PROGRAMMING REALTIME CONTROLS – PROGRAMMING

Controller Depth

This parameter is shown as a percentage value (e.g. ”25%“) and determines the real time controls modulation depth. Sixteen values from 12% to 200% are available. This value is added to the current control setting.

A word or two about modulation depth

Not only the current setting of the controls, but also all other parameters that control a modulation depth, are added to the resulting modulation depth value. Please note that modulation depth usually has negative values as well. If the resulting modulation depth value exceeds the total parameter range, some controllers may have little or no effect on the entire modulation. When, for example, you set the VCF1 cut-off control to a 3 o‘clock position and add a high ENV depth value, an additional third controller will produce no audible effect until you decrease either of the two other settings. Please refer

to the following gure. It shows the cumulated modulation depth values for the VCF1 cut-off. In this example, all added

values are within the total parameter range.

Sound parameter setting

Real Time-Control Value Range (e.g. 37%)

Real Time-Control minimum position

Real Time-Control maximum position

Parameter setting or MIDI Ctlr value

Real time control (ModWheel, Stick etc.)

ENV depth

entire parameter range

maximum resulting modulation depth

LFO depth

Key follow

Velocity

0 % 100 %

Activate real time controllers

• Active: Enables the selected performance controller (LC display shows ”ON“ / ”OFF“). You can use this key to enable / disable specic performance controllers while playing.

At this point, the assignment process is completed. You can now continue by assigning another real time control to a

specic parameter of a sound.

You can also use the Preset and Bank selector keys to determine the real time control and the desired parameter.

• Preset up/down: Selects performance controller (”Source“).

• Bank up/down: Selects sound parameter (”Dest-Par“).

1 – Use the Cursor keys to navigate through the parameters.

2 – Use the Value keys to change values (or the data entry dial).

3 – Hit the Exit key to quit the performance controller assignment procedure.

Store real time controller assignment

You can store the real time controller assignment to the current preset by simply performing the preset storage function:

1 – Hit the Write key to store the performance controller assignment in the current preset. The LCD will read ”WRITE ASSIGN DATA TO PRESET?“

2 – Now hit Enter to save the performance controller assignment or hit EXIT to quit the performance controller assignment procedure without saving it in the current preset.

Please note: Some sound parameters are controlled in tandem by the real time controls. These parameters are listed right here:

Function Block Parameter LC-Display Readout (select with Bank key) _________________________________________________________________________________ PWM OSZ1-LFO-Rate OSC1,OSC123 PWM OSZ1-LFO-Depth OSC1,OSC123

Envelope ENV Depth OSC1,OSC2,OSC3,OSC4,OSC1234 Envelope ENV Time OSC1,OSC2,OSC3,OSC4,OSC1234

---

Vibrato Vib Depth OSC1,OSC2,OSC3,OSC4,OSC1234 Vibrato Vib Rate OSC1,OSC2,OSC3,OSC4,OSC1234

---

Oscillator 4 Fine Tune Fine Tune , Vel Sens, Key Follow

---

VCF1 Cutoff Cutoff VCF1, Cutoff VCF12

---

Dual Filter 1 Cutoff Cutoff DF1, Cutoff DF 12 Dual Filter 1 Space Space DF1, Space DF 12 Dual Filter 1 Key Follow Key F. DF1, Key F. DF 12 Dual Filter 1 Velocity Vel DF1, Vel DF 12 Dual Filter 1 ENV Depth ENV DEpth DF1, ENV DEpth DF 12 Dual Filter 1 LFO Depth LFO DEpth DF1, LFO DEpth DF 12 Dual Filter 1 LFO Rate LFO Rate DF1, LFO Rate DF 12

--Duallter 1/2 Trigger Delay T.Delay DF1, T. DF12 Duallter 1/2 Attack Attack DF1, Attack DF12 Duallter 1/2 Decay Decay DF1, Decay DF12 Duallter 1/2 Release Release DF1 Releaee DF12,

Page 34

MENUES – PROGRAMMING MENUES – PROGRAMMING

PRESET EDIT MENU

You will nd most of Schmidt‘s parameters directly on the front panel. Still, there are some hidden functions in some easy-to-access/operate menus. Most of them allow access to global functions but some additional parameters for

sound programming are to be found there as well. We will take a closer look at them right now. All corresponding function keys can be found in the Edit section located around the LCD.

The Preset Edit menu features just three pages.

Hit the Menu Key until the PRESET EDIT LED lights up. The LCD now shows the following screen. If not, change the pages using the Parameter up/down keys.

Naming Single Presets (Edit Single Name)

Use this page to name your new creation.

• Value up/down: Change character

• Cursor left/right: Previous/next character

• Preset down: Delete character

• Preset up: Insert character

• Bank down: Toggles between capital and small letters

• Bank up: Reloads the previous name.

• Exit: Quits Edit Single Name page

• Write: Saves settings in current preset

Additional LFO Parameters (Single LFO Mode 1)

Hit Parameter up/down keys to enter the second page of the Preset Edit menu.

Use this page to set the sync options of the VCF1/2 LFOs.

• Key-Reset: retriggers the VCF1/2 LFOs via note-on information (factory default setting is ON).

• MIDI-Sync: synchronizes VCF1/2 LFOs to MIDI clock. When enabled, you can select from 13 different

clock divider values (factory default setting is INTERNAL, respectively disabled MIDI clock sync).

• Cursor left/right: Previous/next function

• Value up/down: Change value

• Exit: Quits Edit LFO Mode 1 page.

Edit Single Name

My Favorite

Val Pre DEL Cur Exit: Quit Write: Write

Pre INS Bnk Org

Bnk A a

Edit LFO Mode 1

Cur : Par Val : Edit Exit / Write

VCF1 Key-Reset: On VCF2 Key-Reset: On VCF1 Midi-Sync: Int. VCF2 Midi-Sync: Int.

Par : Page

Additional Single Parameters (Single Advanced 1)

Hit Parameter up/down keys to enter the third page of the Preset Edit menu.

Here you will nd some additional parameters that can be handy to have around from time to time, especially when programming single presets. Currently, you will nd the following parameters:

• Fine Tune: tunes the current preset by cents. Using this function, you can give any preset an individual ne tuning. Please note that this setting is only active with this preset – it is not a global

tuning parameter.

• Transpose: tunes the current preset by semitones. Using this function you can give any preset an individual transposition. Please note that this setting is also only active with this preset – it is not a global tuning parameter.

• Cursor left/right: Previous/next function

• Value up/down: Change value

• Exit Quits Single Advanced 1 page.

Single Advanced 1

Cur : Par Val : Edit Exit / Write

FineTune (Cent) : 0 Transp. (Semi.) : 0 – – – – – –

Par : Page

Page 35

GLOBAL FUNCTIONS GLOBAL FUNCTIONS

GLOBAL FUNCTIONS

The global functions provide settings that are not preset related. The global functions provide the Utility Menu and the System Menu.

UTILITY MENU

Here you will nd Schmidt‘s utility functions. Hit the Menu key until the UTILITY LED lights up. The LCD now shows the following screen. If not, change the pages using the Parameter up/down keys.

Send MIDI Dump

This function allows you to send banks of Single Presets as SysEx data le to external MIDI gear or your computer

respectively.

• Bank up/down: Selects Single Preset bank (1 – 8) to be transmitted.

• Enter: Perform MIDI dump.

• Exit: Quits Send MIDI Dump page.

Reset Global Parameters

Hit Parameter up/down keys to enter the second page of the Utility menu.

This function resets all global parameters to their factory default settings.

• Exit: Aborts the reset function.

• Enter: Performs the reset function.

Send Midi-Dump

Single-Bank 1

Par : Page Exit: Quit

Bnk : Bnk Enter: Send

U t i l i t y

Par : Page Exit: NO

Reset Global Parameters ?

Enter: YES

IV.

GLOBAL FUNCTIONS

Page 36

GLOBAL FUNCTIONS GLOBAL FUNCTIONS

Display / LED Settings

Hit Parameter up/down keys to enter the third page of the Utility menu.

Here you can adjust brightness, contrast, and color of the LEDs and LCD to suit your taste.

• LCD-Contrast: Controls LCD contrast. Factory setting is 10.

• LCD-Brightness: Controls LCD brightness in four steps (MIN / Mid1 / Mid2 / Max). Factory setting is Min.

• LED-Brightness: Controls LED brightness in two steps (MIN / MAX). Factory setting is Max.

• LED-Change: Enables color change of the LEDs. Factory setting is Off.

• Cursor left/right: Previous/next function

• Value up/down: Change value

• Exit: Quits Display / LED Settings page.

USB / MIDI - Select

Hit Parameter up/down keys to enter the fourth page of the Utility menu.

This function determines whether Schmidt will receive MIDI data through its USB port or through the MIDI DIN sockets.

• Value up/down: Toggles between ”MIDI“ and ”USB“. Factory default setting is MIDI.

• Exit: Quits USB / MIDI - Select page.

Disp – LED – Set

Cur : Par Val : Edit

Exit : Quit

LCD-Contr.: 10 LCD-Bright: Min LED-Bright: Max LED-Change: On

Par : Page

USB / Midi – Select

Val : Edit

Exit : Quit

Input Source: Midi

Par : Page

SYSTEM MENU

The System menu allows access to some global functions, mostly for communication with other instruments /

computers, i. e. the conguration of Schmidt‘s MIDI interface, local control, and some more.

MIDI FUNCTIONS (FIVE PAGES)

The following menu comprises ve pages. It enables/disables the various MIDI parameters Schmidt obeys to.

Hit the Menu key until the SYSTEM LED lights up. The LCD is now showing the following screen. If not, change the pages using the Parameter up/down keys.

This is the rst of currently ve Single-Global-MIDI pages within the System menu. Select MIDI channel numbers (1 - 16) here for sending and receiving MIDI data (factory settings 1). You can also disable/enable sending/receiving all MIDI data (factory settings On).

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-MIDI 1 page.

Hit Parameter up/down keys to enter Single-Global-MIDI 2 page of the System menu.

You will nd the following functions here:

• Running Stat: Enables/disables MIDI running status. Running status is a help to limit the MIDI data stream.

Factory setting is On.

• SND CC – 14 Bit: When enabled, Schmidt‘s controls transmit high-resolution MIDI controller data (14 bit). Factory setting is On.

• SND Prg/Bnk: Enables/disables the transmission of MIDI program change and/or bank change data. OFF: Transmission of MIDI program change and bank change disabled (factory setting). PRG: Transmission of MIDI program change data enabled, bank change disabled. P+B: Transmission of MIDI program change and bank change enabled.

• RCV Prg/Bnk: Enables/disables the reception of MIDI program and bank data. Available options are the same as above. Factory setting is Off.

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-MIDI 2 page.

Sgl – Global – Midi 1

Cur : Par Val : Edit Exit / Write

SND – Channel: 01 SND – Enable: On RCV – Channel: 01 RCV – Enable: On

Par : Page

Sgl – Global – Midi 2

Cur : Par Val : Edit Exit / Write

Running – Stat : On SND CC – 14Bit: On SND Prg / Bnk : Off RCV Prg / Bnk : Off

Par : Page

Page 37

GLOBAL FUNCTIONS GLOBAL FUNCTIONS

Hit Parameter up/down keys to enter Single-Global-MIDI 3 page of the System menu.

Here you will nd the following set of functions:

• SND Pr. Param: Enables/disables Schmidt‘s panel control devices (control knobs, function keys) to transmit

MIDI controller data. Factory setting is On.

• –> Display: When using a control or a function key, the LCD will display its name and edited value. Select between: ON: LCD always shows parameter name and edited value. 3S: LCD shows parameter name and edited value for about three seconds before it returns to normal view (factory setting). OFF: LCD never shows parameter name and edited value.

• RCV Pr. Param: Enables/disables the reception of MIDI controller data to control Schmidt‘s panel control devices (control knobs, function keys) remotely via external MIDI devices. Factory setting is Off.

• –> Display: When receiving MIDI controller data, the LCD will display the controller number and current value. Select between: ON: LCD always shows controller number and current value. 3S: LCD shows controller number and current value for about three seconds before it returns to normal view. OFF: LCD never shows controller number and current value (factory setting).

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-MIDI 3 page.

Hit Parameter up/down keys to enter Single-Global-MIDI 4 page of the System menu.

Here you will nd the following set of functions:

• SND/RCV Pitch: Enables/disables the pitchwheel to send/receive MIDI controller data. Factory setting is Off.

• SND/RCV Mod-W: Enables/disables the modwheel to send/receive MIDI controller data. Factory setting is Off.

• SND/RCV X-Y: Enables/disables the stick controller to send/receive MIDI controller data.

Factory setting is On.

• SND/RCV Pres.: Enables/disables keyboard pressure (aftertouch) to send/receive MIDI controller data. Factory setting is Off.

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-MIDI 4 page.

Sgl – Global – Midi 3

Cur : Par Val : Edit Exit / Write

SND Pr. Param : On –> Display : On RCV Pr. Param : Off –> Display : Off

Par : Page

Sgl – Global – Midi 4

Cur : Par Val : Edit Exit / Write

SND / RCV Pitch : On SND / RCV Mod-W: On SND / RCV X–Y : Off SND / RCV Pres. : On

Par : Page

Hit Parameter up/down keys to enter Single-Global-MIDI 5 page of the System menu.

Here you will nd the following set of functions:

• SND/RCV Ext.C: When enabled, voltage values received through the external control inputs on Schmidt‘s

rear panel will be transmitted as MIDI controller data. Factory setting is Off.

• SND/RCV KBD: Enables/disables Schmidt‘s keyboard to send/receive MIDI data. Factory setting is On.

• SND/RCV Vol: Enables/disables Schmidt‘s volume control to send/receive MIDI controller data

(controller #7). Factory setting is On.

• RCV Prg Dump: Enables/disables the reception of MIDI preset dumps. Factory setting is On.

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-MIDI 5 page.

Sgl – Global – Midi 5

Cur : Par Val : Edit Exit / Write

SND / RCV Ext.C : Off SND / RCV KBD : On SND / RCV Vol : On RCV Prg Dump : On

Par : Page

LOCAL ON/OFF MENU (TWO PAGES)

The following menu comprises two pages. It enables/disables the connection of the various controllers to Schmidt‘s

internal sound generation engine. If disabled, the related controller is disconnected from the sound generation engine and transmits MIDI data only.

Hit Parameter up/down keys to enter Single-Global-Local 1 page of the System menu.

Here you will nd the following set of functions:

• Local Pitch: Connects/disconnects the pitch wheel from Schmidt‘s sound generation.

Factory setting is On.

• Local Mod-W.: Connects/disconnects the mod wheel from Schmidt‘s sound generation. Factory setting is On.

• Local X-Y: Connects/disconnects the stick controller from Schmidt‘s sound generation.

Factory setting is Off.

• Local Pres.: Connects/disconnects the keyboard pressure (aftertouch) from Schmidt‘s sound generation.

Factory setting is Off.

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-Local 1 page.

Sgl – Glob.Local 1

Cur : Par Val : Edit Exit / Write

Local Pitch : On Local Mod-W. : On Local X-Y : Off Local Pres. : Off

Par : Page

Page 38

GLOBAL FUNCTIONS GLOBAL FUNCTIONS

Hit Parameter up/down keys to enter Single-Global-Local 2 page of the System menu.

Here you will nd the following set of functions:

• Local Ext.C: Connects/disconnects the external control inputs on Schmidt‘s rear panel from Schmidt‘s

sound generation engine. When disabled, control voltages received through the inputs have no effect on the sound generation but will be transmitted via MIDI. Factory setting is On.

• Local KBD: Connects/disconnects the keyboard from Schmidt‘s sound generation. Factory setting is Off.

• L.Vol (Ex B4): Determines the response of the volume (expression) pedal input (Ext In B 4).

The following options are available: REL: The range of the connected expression pedal is limited by ”0” and the current setting of the Master Volume control (factory setting). ABS: The range of the connected expression pedal is limited by ”0” and the maximum level (equal to fully clockwise setting of Master Volume control). SGL: The range of the connected expression pedal is limited by ”0” and the volume setting

of the current preset (equal to setting of Sound Volume control).

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-Local 2 page.

ADVANCED FUNCTIONS MENU (ONE PAGE)

The following menu currently has just one single page. Here, you will nd some further setup functions that you use less frequently. The functions currently available determine the performance of the footswitches connected to the external inputs on Schmidt‘s rear panel.

Hit Parameter up/down keys to enter Single-Global-Advanced page of the System menu.

Here you will nd the following set of functions:

• Pitch-Global: When active, the pitch bender will affect all of Schmidt‘s multi sound slots equally

(factory default setting). When disabled, the pitch bender will affect each program individually, according to the value that has been programmed per program (you can assign a pitch bend range to a Single sound, remember? Please refer to page 57).

Sgl – Glob.Local 2

Cur : Par Val : Edit Exit / Write

Local Ext.C : Off Local KBD : On L.Vol (Ex B4) : Rel

Par : Page

Sgl – Glb. Advanced

Cur : Par Val : Edit Exit / Write

Pitch-Global : On Sus/Sos - Ex A 1/2: On Sus/Sos - MIDI : RCV Sus/Sos - SW-Pol : REV

Par : Page

This will lead to a different bend range for each part of the Multi setup – which may or may not be musically useful. Imagine several individual pitch bends programmed at musical

intervals which make your Multi patch spread out like a peacock‘s fan when pitch-bend is

activated.

• Sus/Sos - EX A1/2: Enables/disables Schmidt‘s external control inputs EX A1/2. Both are used for connecting Sustain / Sustenuto pedals or foot switches. Factory setting is Off.

• Sus/Sos - MIDI: Determines if Schmidt processes Sustain / Sustenuto MIDI controller data. The following options are available: OFF: Schmidt will not send or receive sustain / sustenuto MIDI data (factory setting). RCV: Schmidt will receive sustain / sustenuto MIDI data. SND: Sustain / sustenuto information received at the external control inputs EX A1/2 will be transmitted as MIDI data. R+S: Receive and send functions are both enabled.

• Sus/Sos - SW-Pol: Toggles the polarity of a connected foot switch between the settings Standard (STD) or Reversed (REV). Factory setting is STD.

• Cursor left/right: Previous/next parameter.

• Value up/down: Change value.

• Exit: Quits Edit Single-Global-Advanced page.

RECEIVING SYSEX DATA

Schmidt is always ready to receive SysEx data, respectively Single preset banks and Multi preset banks. If Schmidt recognises incoming SysEx data, it temporarily saves them into a memory buffer and asks if and where the data should be saved permanently. To receive Single preset banks, Schmidts Single mode has to be enabled. To receive Multi banks, Multi mode has to be enabled. Otherwise, the SysEx data will be ignored.

If Schmidt receives suitable SysEx data, the LCD shows:

Now the data is loaded into the memory buffer, shown by a progression bar. Cancel the reception by hitting Exit.

As soon as the data reception is complete, the screen shows:

• Hit Enter to save the received preset bank to its current location.

• Use Bank up/down to select another target preset bank. Conrm with Enter key.

• Cancel the save process by hitting Exit.

Attention! Saving a received preset bank onto an existing bank overwrites the existing bank. Please note that there is no undo function!

Exit: Quit Receive

Receiving Dump... Type: Single-Bank 1

Dest. Quit Copy

Bnk Bnk Exit Enter

Receiving Dump Ready Type: Single-Bank 1

Copy to Bank 1 ?

Page 39

GLOBAL FUNCTIONS GLOBAL FUNCTIONS

SINGLE PRESET HANDLING

LOADING PRESET

You should already know how to load a Single Preset from Schmidt‘s memory. You will nd all necessary controls in

the Preset section, right beside the LCD:

1 - Hit Mode until the SINGLE LED lights up. 2 - Hit Preset up/down or turn Value control to step/scroll through the Single presets.

The LCD (liquid crystal display, you remember?) shows bank number as well as preset number and name. 3 - Hit Enter to load the selected Single preset.

Hit Quick Load to enable the Quick Load option. Now you do not need to hit Enter anymore to load a selected preset.

Hit Bank up/down to select the Single preset bank. The Quick Load option also works for bank selection.

Schmidt‘s on board memory holds 8 banks of 128 Single presets each.

SAVING SINGLE PRESETS

Do not forget to save your latest sound creation permanently. This section will show you how to store Single Presets.

Hit the Write key. The LCD reads:

The upper line shows the current preset location. Enter the destination of your preset in the line below.

1 - Simply select the bank destination using the Bank up/down keys and the preset destination using the

Preset up/down keys. You can also use the Data entry dial.

2 - Abort the write process by hitting Exit. 3 - Conrm the write process by hitting Write again. The display will briey read ”WRITE COMPLETE”

and returns to the preset load page.

To name your new preset, go to the rst page of the Single Edit Menu which is described on page 66.

Write Single

Bnk / Pre : Destination

Exit: Quit Write: Write

Bank 1 – 1 => Bank 1 – 1

CLIPBOARD / COMPARE

The clipboard / compare function allows you to compare an edited preset with its original version. Also, you can put an edited version of a preset aside into a clipboard and recall or save it later.

Hit the Clipboard key to enter the clipboard function. The LCD reads:

Clipboard function

The Clipboard function is active by default.

• Curs: Use the Cursor to toggle between the Compare and Clipboard functions.

• Exit: Hit Exit to abort the clipboard/compare function. The LCD returns to the preset load menu.

• Write: Hit Write to copy your edited version of the current preset to the clipboard. It will be put aside there

and left untouched while you can further edit the current preset or load (and tweak) other presets. The LCD returns to the usual „Preset Load“ screen.

Hit the Clipboard key again to return to the version stored in the clipboard section.

Store a presed from the clipboard:

If you want to store the preset parked in the clipboard permanently, hit Write again. The LCD shows the already familiar Single Preset Write page (please see page 68).

Use the Bank up/down and Preset up/down keys to select a preset destination. Hit Write again to execute the store function. If you want to abort and quit, hit Exit key.

Compare function

When you are in clipboard mode, you have also access to a Compare function:

• Curs: Use the cursor again to toggle between the Compare and Clipboard functions. When the Compare function is active, the LCD looks like this:

• Clip: Toggles between original preset and edited version.

• Write: Discard the edited version by overwriting it with the original preset version.

Clipboard Single

Exit : Abort

Curs : Mode => Comp

Clip : Paste Clipb.

Write : Copy To Clipb.

Bank 1 – 1

Compare Single

Original Preset

Curs : Mode => Clipb.

Write : Copy To Edit

Clip : Back To Edit

Bank 1 – 1

Page 40

MULTIMODE MULTIMODE

MULTIMODE

Schmidt provides a multi mode with up to eight different parts playing simultaneously. A part contains one single preset and various settings which determine its performance within the multi preset.

Each part can consist of one to eight voices. The voice allocation is either xed or has to be programmed manually for each multi preset respectively. As you may have gured out already, using e.g. one part with two voices and another

with six voices reduces the available number of multimode parts to two. In any case, the number of eight voices cannot be exceeded.

As well as the single presets, a multi preset can be stored in a memory space of eight banks with 32 presets each.

The following gure shows the schematic diagram of the multi mode. In this example, Part 1 uses voices #1 to #4, Part 2 uses voice #5 and #6 while Part 3 uses voice #7 and Part 4 voice #8. Each part features an identical set of parameters that can be edited in Multi Edit mode. It is illustrated for Part 1 here and will be described in detail below.

To enter Multi Mode, simply hit the Multi key in the Preset section of the front panel until the MULTI LED lights up.

e.g.

Part 1

1-8 Voices

Output Output Output Output Output Output Output Output

Multi parameters (pages) to edit:

1. Single Preset (1 of 256)

2. Mono/poly, # of voices

3. Keyboard range, Trigger source

4. Midi channel

5. Level, panorama

6. Transpose, tuning

7. Output routing 8/9. Controller assignment

10. Name

1 Single

Preset

1 Single

Preset

1 Single

Preset

1 Single

Preset

1 Single

Preset

1 Single

Preset

1 Single

Preset

1 Single

Preset

1-8 Voices 1-8 Voices 1-8 Voices 1-8 Voices 1-8 Voices 1-8 Voices 1-8 Voices

Part 2 Part 3 Part 4 Part 6Part 5 Part 7 Part 8

Voice 1 Voice 2 Voice 3 Voice 4 Voice 6Voice 5 Voice 7 Voice 8

MULTIMODE

Page 41

MULTIMODE MULTIMODE

LOADING MULTI PRESETS:

1 - Hit Preset up/down or turn Value dial to scroll through the Multi presets. 2 - Hit Enter to load the selected Multi preset.

Hit Quick Load to enable Quick Load option. Now you do not need to hit Enter anymore to load the selected preset.

Hit Bank up/down to select the Multi preset bank. The Quick Load option also works for bank selection.

Schmidt‘s on-board memory holds 8 banks of 32 Multi presets each.

You can select a Single preset of one Multi Part and put it on Schmidt‘s front panel to edit its sound without leaving the

multi mode. As soon as you loaded a multi preset, the LCD reads:

Use Enter to execute the function. Use Exit to cancel thefunction.

SAVING MULTI PRESETS

Do not forget to save your latest Multi Preset permanently. This section will show you how to store Multi Presets.

Enter the Preset Load menu by hitting the Menu key.

Hit the Write key. The LCD reads:

The upper line shows the current preset location. Enter the desired destination of your preset in the line below.

1 - Simply select the bank destination using the Bank up/down keys and the preset destination using the Preset up/down keys. You can also use the Data entry dial.

2 - Abort the write process by hitting Exit. 3 - Conrm the write process by hitting Write again. The display will briey read

”WRITE COMPLETE” and returns to the preset load page.

To name your new preset, go to the last page of the Edit Multi Menu which is described on page 86.

As you just learned, you can edit sounds that are used in the current multi preset without leaving the multi mode. You simply have to assign them to Schmidts front panel. Thus you can also save such an edited sound right from the multi mode.

Please keep in mind, that in multi mode just the links to the related single presets are saved, not the no sound settings (single presets) itself. If you edit a single preset in multi mode, you have to save its settings separately:

Hit the Mode key. The Single LED lights up

and

the LCD shows the following screen:

Please note that multi mode is still enabled. Now you can save the edited single preset to the current location or any other location if desired.

• Hit Exit to cancel the write process and revert to the multi mode screen.

• Hit Write to perform the write process. The LCD asks ”Write Single Are you sure?“

• Hit Write again to conform and execute the write process.

• Hit Exit to cancel the write process.

When the write process is completed, the LCD reverts to the multi mode screen.

SETTING UP MULTI PRESETS

To setup a multi preset you will nd ten pages in the Multimode Menu (please refer to the gure on page 77. Each page provides a set of functions to dene the properties of the Multi Preset.

Hit the Menu key until the Preset Edit LED lights up. If necessary, scroll through the Multimode pages by hitting the Parameter up/down keys. The rst of the ten Multi preset edit menus reads like this:

Bank 1 Multi

My Multi

Cur Edit-Sgl Part 1

Hit the Cursor to select the part that should be assigned to the front panel for editing. The LCD reads:

Change Edit-Sgl Part

Cur : Part

Enter: Exec.

Exit: Quit

act: Part 1: Sgl 32 – 1 => Part 2: Sgl 4 – 2

”Super Bass”

Write Multi

Bnk / Pre : Destination

Mode: Sgl/Multi Write:

Multi Bank 1 – 1 => Bank 1 – 1

Write Multi

Bnk / Pre : Destination

Mode: Sgl/Multi Write:

Single Bank 6 – 3 => Bank 6 – 3

Page 42

MULTIMODE MULTIMODE

1. Assign Preset sounds

Hit Parameter up/down keys to enter the Edit Multi Voices page. On this page you can select Multi parts and load single presets into each of them. The LCD reads like this:

• Pre: Hit the Preset up/down keys to select the desired Part (1 - 8).

• Bnk: Hit the Bank up/down keys to select the desired single preset bank (1 - 8).

• Val: Hit the Value up/down keys to select the desired single preset (1 - 256).

You can also use the data entry control.

2. Assign voices

Hit Parameter up/down keys to enter the Edit Multi Voices page. Here you can assign voices to the Multi parts. The LCD shows this screen:

• The upper line shows the selected part and the associated preset.

• The second line informs you whether the eight slots use polyphonic (”P“) or monophonic (”M“) single presets.

Please refer to page 54, section „Glide / Bend“, „Voice Allocation“.

• The third line shows the maximum number of voices that can be played by the associated Part (”Voice Reserve“).

A single preset with unison setting becomes automatically monophonic (”M“) when used in multi mode. If you assign two or more voices, it returns back to unison i.e. the assigned number of voices playable on one key. The detuning function can be found in multi mode menu page 6 ”Tune Parts“ (see page 82).

• Use the Cursor up/down keys to select the parts.

• Use the Value up/down keys to select the maximum number of voices for each part („V.R.“ = „Voice Reserve“).

If anything has been edited, the screen will change to this message:

Edit Multi Preset

Part 1: Bnk–Sgl 1 – 1 ”My Preset“

Par : Page Val : Sgl

Pre : Part Bnk : Bnk

Edit Multi Voice

Par : Page Val : V.R.

Mono/Poly: ppppppppp

Part1 – My Preset

VReserve : 421100000

Edit Multi Voice

Entr: Update Exit: Undo

Mono/Poly: ppppppppp

Part1 – My Preset

VReserve : 421100000

Hit Enter to conrm the changes or cancel the changes by hitting Exit. In either case, the screen will return to its original state. Now you can select the next page.

3. Keyboard Mapping

Hit Parameter up/down keys to enter the Edit Multi Keyboard page. Here, you can create a keyboard mapping for each Multi part.

Use the Cursor up/down keys to select a parameter. Use the Value up/down keys or the data entry control to alter the values.

• Lower: Lowest note of the keyboard zone (available C-1 to G9).

• Upper: Highest note of the keyboard zone (available C-1 to G9).

• LU-On: Enables/disables the Lower/Upper settings i.e. if set to OFF, the part uses the entire keyboard range.

If set to ON, the settings above are enabled.

• Mode: Determines whether the selected part respon ds to the internal keyboard (”KBD“), to MIDI data (”MIDI“) or both (”ALL“).

4. MIDI Settings

Hit Parameter up/down keys to enter the Edit Multi MIDI page. Please use this page to create a simple individual MIDI setup for each multi part.

Use the Cursor up/down keys to select a parameter. Use the Value up/down keys or the data entry control to alter the values.

• M-Chn: Select the MIDI channel of the current Multi part (1 to 16).

• TX-On: Determines whether the Multi part currently active transmits MIDI data or not.

• RX-On: Determines whether the Multi part currently active receives MIDI data or not.

Please note: TX/RX settings refer to the entire MIDI data transfer of the corresponding multi part. Individual MIDI controllers can be enabled/disabled on MIDI Controller Setup (Multi menu pages 8 / 9). Please refer to page 83.

Edit Multi Kbd

Lower: B 0 Upper: C 4

Part1 – My Preset

LU-On: On Mode: All

Cur : Sel

Pre : Part

Edit Multi Midi

M-Chn: 1

Part1 – My Preset

TX-On: On Rx-On: On

Cur : Sel

Pre : Part

Page 43

MULTIMODE MULTIMODE

5. Part Levels

Hit Parameter up/down keys to enter the Edit Multi Level page. This page works like a simple mixer for all Multi parts. You can set a master level for the Multi preset and determine different levels as well as individual panorama settings for each part.

Use the Cursor up/down keys to select a parameter. Use the Value up/down keys or the data entry control to alter the values.

• Main-Lev: Determines the maximum output level of the Multi preset (0 to 127).

• Part-Lev: Determines the maximum output level of the current part (0 to 127).

• Panorama On/Off: Determines whether the panorama setting as well as the panorama LFO modulation settings

of the single preset will be used in the Multi part (”OFF“). If set to ”ON“, the single preset settings are ignored and the value of the following parameter is used instead.

• Panorama: Sets the current part to a panorama position (L63 to 0 to R63 – no panorama modulation).

6. Tune Parts

Hit Parameter up/down keys to enter the Edit Multi Tune page.

Here you can transpose and ne-tune the Multi parts individually.

Use the Cursor up/down keys to select a parameter. Use the Value up/down keys or the data entry control to alter the values.

• Transp. (Semi.): Transposes the part by up to +/– 48 semitones.

• Finetune (Cent): Fine-tunes / detunes the part by up to +/– 50 cents.

• Unison: - If the current part uses a monophonic preset (”M“) with 2 or more voices the part is played

unisono and you can detune its voices.

- If the current part uses a preset with unison mode active, you can assign and detune its

voices independent of the single preset setting. Please refer to multi mode page 2 „Assign Voices“ on page 82.

The value goes from 0 to 100 cent. If the single preset currently used by this part is not unison, the parameter is not available and the LCD reads ”– – –“.

Edit Multi Level

Main – Lev. : 127

Part1 – My Preset

Part – Lev. : 127 Panorama : 0 Off

Cur : Sel

Pre : Part

Edit Multi Tune

Transp. (Semi.) : 0

Part1 – My Preset

Finetune (Cent) : 0 Unisono : – – –

Cur : Sel

Pre : Part

7. Multi Mix Page

Hit Parameter up/down keys to enter the Edit Multi Mix page. On this page you can determine whether the voice(s) used by the eight parts are cancelled from the summing (master) output.

Use the Cursor to select the desired part. Use the Value up/down keys to alter the setting.

• If set to ”X“, the corresponding part sends its voice(s) through the Master out.

• If set to ”–“, the corresponding voice(s) are cancelled from the Master out.

8. / 9. MIDI Controller Setup (two pages)

Hit Parameter up/down keys to enter the Edit Multi Controller 1 page.

The following page determines whether the Multi parts obey to Schmidt‘s real time controls (modwheel, aftertouch

etc.) or the incoming MIDI controller data respectively. Use the Cursor up/down keys to select a parameter.

Use the Value up/down keys to alter the values.

• Pitch: Pitchwheel. Available options are: M+L: The current part processes pitchwheel data from incoming MIDI as well as from Schmidt‘s local pitchwheel. MIDI: The current part processes pitchwheel data from incoming MIDI. LOC: The current part processes pitchwheel data from Schmidt‘s local pitchwheel. OFF: The current part will not process any pitchwheel data.

• Wheel: Modulation Wheel. The available options are the same as with the pitchwheel.

• Stick: Stick controller. The available options are the same as above.

• Ext.: External controller inputs. The available options are the same as above.

• Press: Keyboard pressure. The available options are the same as above.

Hit Parameter up/down keys to enter the Edit Multi Controller 2 page.

Edit Multi Ctrl1

Pitch: M+L Wheel: M+L

Press: Off

Part1 – My Preset

Stick: M+L Ext. : M+L

Cur : Sel

Pre : Part

Edit M. Master–Mix

Part-Nr. 12345678

Part1 – My Preset

Active xxxxxxxx-

Cur : Sel

Pre : Part

Page 44

MULTIMODE MULTIMODE

Edit Multi Ctrl2

Rx Vol: On Rx Par: Off

Hold : Off

Part1 – My Preset

Rx Ctr: On Tx Par: On

Cur : Sel

Pre : Part

Here you can enable / disable further MIDI controller communication for the Multi parts. Use the Cursor up/down keys to select a parameter.

Use the Value up/down keys to alter the values.

• Rx Vol: Enables / disables the reception of MIDI volume controller (ctrl #7) for the selected Multi part.

• Rx Ctr: Enables / disables the reception of all MIDI controller data for the selected Multi part.

• Rx Par: Enables / disables the reception of Schmidt‘s parameter values (MIDI controller data) for

the selected Multi part.

• Tx Par: Enables / disables the transmission of Schmidt‘s parameter values (MIDI controller data) for the selected Multi part.

• Hold: Determines the reception of MIDI hold pedal controller (ctrl #64 and #66) for the selected Multi part. Available options are: M+L: The current part processes hold pedal controller from incoming MIDI as well as from Schmidt‘s local External Input. MIDI: The current part processes hold pedal controller from incoming MIDI. LOC: The current part processes hold pedal controller from Schmidt‘s local External Input. OFF: The current part will not process any hold pedal controller data at all.

10. Naming a Multi Preset

Hit Parameter up/down keys to enter the Edit Multi Name page. Here you can name your new Multi preset by using the following functions:

• Value up/down: Change character

• Cursor left/right: Previous/next character

• Preset down: Delete character

• Preset up: Insert character

• Bank down: Toggle between capitals and small letters

• Bank up: Reloads the previous name.

• Exit: Quits Edit Single Name page

• Write: Saves settings to current preset

Edit Multi Name

My Multi 1

Val Pre DEL Cur Exit: Quit Write: Write

Pre INS Bnk Org

Bnk A a

MULTI UTILITY MENU

There is also a utility menu for the Multi mode. It currently comprises one page only that provides a function to transmit Multi preset banks via MIDI dump.

Select Utility with the Menu key while in Multi mode.

The LCD reads like this:

• Bank up/down: Selects Multi Preset bank (1 – 8) to be transmitted.

• Enter: Performs MIDI dump.

• Exit: Quits Send MIDI dump page.

Send Midi Dump

Multi-Bank 1

Par : Page Exit: Quit

Bnk : Bnk Enter: Send

Page 45

MULTIMODE MULTIMODE

MULTI SYSTEM MENU

You will also nd a system menu for the Multi mode. It currently has only one single page with some parameters that

enable / disable the transmission of performance controller MIDI data in Multi mode on a global level (in contrast to the Edit Multi Controller 1 page, that deals with individual settings per Multi part).

Hit the System key while in Multi mode.

The LCD reads like this:

Use the Cursor to select one of the following parameters: Use the Value up/down keys to enable / disable the selected function.

• Pitch: Pitchwheel

• Wheel: Modwheel

• Stick: Stick controller

• Press: Keyboard pressure

• Ext.: External Inputs

• Kbd: Keyboard (note on/off)

• Ctrl.: Controller (controller data generated by Schmidt‘s front panel).

• Vol.: Volume (controller #7 data generated by Schmidt‘s Volume control).

Tx – Midi Settings

Wheel: Off Kbd. : Off

Press : Off Vol. : Off

Pitch : Off Ext. : Off

Stick : Off Ctrl. : Off

Val : Edit Cur : Par

FIRMWARE UPDATE

It is quite easy to update Schmidts rmware via SysEx data dump. Please check out the EMC website frequently (www.emc-de.com). We will announce new versions there.

Please download the rmware les from the EMC website and unzip the data. Schmidts rmware consists of three different les. You will nd:

• VX.XX_voice.syx (Voice boards)

• VX.XX_system.syx (System)

• VX.XX_panel.syx (Panel boards)

The le names show the software version (e.g. V1.10), the function (e.g. system) and the data type (Sytem Exclusive).

To transfer the data to Schmidt, we recomend a freeware MIDI dump software just like SysEx Librarian.app (for Mac OSX). Get it on www.snoize.com/SysExLibrarian/ or MIDIOX for Windows. Get it on www.midiox.com

This is how to perform the update procedure (the LCD will also guide you through the entire procedure):

1 - Enable rmware download mode: a) Power Schmidt down. b) Keep Clipboard and Preset keys pressed down simultanously while powering up Schmidt. => A blue screen appears (no – this is not a crash...) and shows the OS menu. c) Select ”Software Update“ and hit Enter key.

2 - Transfer Voice OS data: a) Select ”Update Voices“ with the Cursor and hit Enter. b) Upload the le ”VX.XX_voice.syx“ to Schmidts MIDI In socket. => As soon as the upload is complete, an automatic check up is performed. c) Hit Enter key (OK). d) Conrm with Enter key. e) Hit Exit to quit the funtion.

3 - Transfer System OS data: a) Select ”Update System“ with the Cursor and hit Enter. b) Upload the le ”VX.XX_system.syx“ to Schmidts MIDI In socket. => As soon as the upload is complete, an automatic check up is performed. c) Hit Enter key (OK). d) Conrm with Enter key. e) Hit Exit to quit the funtion.

4 - Transfer Panel OS data: a) Select ”Update Panel“ with the Cursor and hit Enter. b) Upload the le ”VX.XX_panel.syx“ to Schmidts MIDI In socket. => As soon as the upload is complete, an automatic check up is performed. c) Hit Enter key (OK). d) Conrm with Enter key. e) Hit Exit to quit the funtion.

5 - Complete rmware update. a) Power Schmidt down. b) Wait for about ve seconds and power up Schmidt.

If an Error message shows up on the LCD, please do not panic. Simply repeat the entire procedure once again.

Attention: - Never, never (!) power down Schmidt while the update process is performed!

- Always keep to this order above resp. the instructions on the LCD.

Page 46

APPENDIX APPENDIX

VI.

APPENDIX

MIDI IMPLEMENTATION

MIDI CONTROLLER ASSIGNMENTS

CC #

Parameter Send/Receive Explanation Comment

0/32 S/R Bank-Select MSB/LSB Single/Multi:

MSB=0

LSB=0É 7

1/33 S/R Mod-Wheel MSB/LSB

LSB nur gesendet bei Snd-CC14Bit: On

6/38 S/R Data-Entry MSB/LSB Siehe NRPN

7/39 S/R Volume MSB/LSB

LSB nur gesendet bei Snd-CC14Bit: On

64 S/R Sustain

66 S/R Sostenuto

98 S/R NRPN-Nummer LSB Siehe NRPN

99 S/R NRPN-Nummer MSB Siehe NRPN

102 S/R Joystick X-Position 0É 127

103 S/R Joystick Y-Position 0É 127

104 S/R Pedal Ext1 0É 127

105 S/R Pedal Ext2 0É 127

106 S/R Pedal Ext3 0É 127

107 R LED-Color 0É 63

108 R Display-Color 0É 63

109 R LED+Display-Color 0É 63

121 R Reset Controller

122 R Local Control nur im Single-Mode

123 R All Notes Off

Single-Mode only

Please note:

NRPN:

Used to send/receive the parameters of a sound. All parameters have the following in common:

1. NRPN # MSB (CC#99)

2. NRPN # LSB (CC#98)

3. Data entry (Ctrl. Value) MSB (CC#38)

4. Data entry (Ctrl. Value) LSB (CC#6)

Send: When editing a new parameter, the NRPN # will always be transmitted. When editing the same parameter twice, only the data entries (controller values) will be transmitted.

Receive: When receiving controller data, all data entries (controller values) will refer to the last NRPN # received, as long as no

new NRPN # is received. When NRPN = 127-MSB + 127-LSB is received, subsequent data entries (controller values)

will be ignored.

only sent when

See

only sent when

Page 47

APPENDIX APPENDIX

OSZ 123

Parameter NRPN# Send/Receive Typ Data Format Explanation

PWM Settings 154 S/R Switch LMKKMVXR

L: Max Limit On/Off (1/0)

MM: LFO-Mode: 01 (One-Shot) MM: LFO-Mode: 00 (Triangle) MM: LFO-Mode: 10 (Sine) KK: Kbd Scale: 00 (Off) KK: Kbd Scale: 10 (1/4) KK: Kbd Scale: 11 (1/2) V: Vel-LFO-Depth On/Off (1/0)

OSZ 1234

Parameter NRPN# Send/Receive Typ Data Format Explanation

Vibrato Assign 222 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Envelope Assign 223 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Unisono Tune (Mono) 72 S/R M 0É 255

Single Fine Tune 73 S/R M 0É 128É 255 (-50CentÉ 0É +50Cent)

Single Transpose 74 S/R M 244É 255

0É 12

(-12HTÉ -1HT) (0É +12HT)

OSZ 1

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Vibrato Wave 206 S/R Switch 0

1 2

Sine

Square Random

Vibrato Depth 198 S/R Pot 0...255

Vibrato Rate 202 S/R Pot 0É 255 0,1HzÉ 75Hz

0,2HzÉ 150Hz (Wave:Random)

Env Destination/Mode 218 S/R Switch DDXXQMVM

Q: Quant On/Off (1/0)

V: Vel On/Off (1/0) DD: Dest: 00 (Pitch) DD: Dest: 10 (Vib.Depth) DD: Dest: 11 (Noise Depth) MM: Mode: 00 (Decay Exp) MM: Mode: 10 (Decay Lin)

Envelope Depth 210 S/R Pot 0É 255 (-15HTÉ +15HT)

Envelope Time 214 S/R Pot 0É 255

12msÉ 6,1S (Decay Lin/Exp) 7,5msÉ 3,8S (Attack/Decay)

Noise Modulation 152 S/R Pot 0...255

Detune 149 S/R Pot 0...255

ﬁne on: (-15...+15Cent) ﬁne off: (-75...+75Cent)

Semitone 153 S/R Pot 2,4,6,8É 30 (-7HTÉ +7HT)

Detune Fine/KBD Scale/Wave 150 S/R Switch KKFXXWWW

KK: Kbd Scale: 00 (Off)

KK: Kbd Scale: 10 (1/4) KK: Kbd Scale: 11 (1/2) F: Fine On/Off: (0/1) WWW: Wave: 001 (Square) WWW: Wave: 010 (PW) WWW: Wave: 101 (Saw) WWW: Wave: 111 (Saw/PW) WWW: Wave: 100 (Multi PWM) WWW: Wave: 110 (Multi/PW)

Octave/Sub Octave 151 S/R Switch XSSSXXOO

SSS: Sub-Oct: 000 (Off)

SSS: Sub-Oct: 001 (64") SSS: Sub-Oct: 010 (32") SSS: Sub-Oct: 011 (16") SSS: Sub-Oct: 100 (8") OO: Octave: 00 (32") OO: Octave: 01 (16") OO: Octave: 10 (8")

Multi PWM Diffuse/Mode 170 S/R Switch XXXDDXMM

DD: LFO Diffuse: 00 (Off)

DD: LFO Diffuse: 10 (Slow) DD: LFO Diffuse: 11 (Fast) MM: Mode: 00 (1) MM: Mode: 01 (2) MM: Mode: 10 (3)

MIDI MESSAGES

OSZ 123

Parameter NRPN# Send/Receive Typ Data Format Explanation

PWM Settings 154 S/R Switch LMKKMVXR

L: Max Limit On/Off (1/0) MM: LFO-Mode: 01 (One-Shot) MM: LFO-Mode: 00 (Triangle) MM: LFO-Mode: 10 (Sine) KK: Kbd Scale: 00 (Off) KK: Kbd Scale: 10 (1/4) KK: Kbd Scale: 11 (1/2) V: Vel-LFO-Depth On/Off (1/0)

OSZ 1234

Parameter NRPN# Send/Receive Typ Data Format Explanation

Vibrato Assign 222 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Envelope Assign 223 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Unisono Tune (Mono) 72 S/R M 0É 255

Single Fine Tune 73 S/R M 0É 128É 255 (-50CentÉ 0É +50Cent)

Single Transpose 74 S/R M 244É 255

0É 12

(-12HTÉ -1HT) (0É +12HT)

OSZ 1

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Vibrato Wave 206 S/R Switch 0

1 2

Sine Square Random

Vibrato Depth 198 S/R Pot 0...255

Vibrato Rate 202 S/R Pot 0É 255 0,1HzÉ 75Hz

0,2HzÉ 150Hz (Wave:Random)

Env Destination/Mode 218 S/R Switch DDXXQMVM

Q: Quant On/Off (1/0) V: Vel On/Off (1/0) DD: Dest: 00 (Pitch) DD: Dest: 10 (Vib.Depth) DD: Dest: 11 (Noise Depth) MM: Mode: 00 (Decay Exp) MM: Mode: 10 (Decay Lin)

Envelope Depth 210 S/R Pot 0É 255 (-15HTÉ +15HT)

Envelope Time 214 S/R Pot 0É 255

12msÉ 6,1S (Decay Lin/Exp) 7,5msÉ 3,8S (Attack/Decay)

Noise Modulation 152 S/R Pot 0...255

Detune 149 S/R Pot 0...255

ﬁne on: (-15...+15Cent) ﬁne off: (-75...+75Cent)

Semitone 153 S/R Pot 2,4,6,8É 30 (-7HTÉ +7HT)

Detune Fine/KBD Scale/Wave 150 S/R Switch KKFXXWWW

KK: Kbd Scale: 00 (Off) KK: Kbd Scale: 10 (1/4) KK: Kbd Scale: 11 (1/2) F: Fine On/Off: (0/1) WWW: Wave: 001 (Square) WWW: Wave: 010 (PW) WWW: Wave: 101 (Saw) WWW: Wave: 111 (Saw/PW) WWW: Wave: 100 (Multi PWM) WWW: Wave: 110 (Multi/PW)

Octave/Sub Octave 151 S/R Switch XSSSXXOO

SSS: Sub-Oct: 000 (Off) SSS: Sub-Oct: 001 (64") SSS: Sub-Oct: 010 (32") SSS: Sub-Oct: 011 (16") SSS: Sub-Oct: 100 (8") OO: Octave: 00 (32") OO: Octave: 01 (16") OO: Octave: 10 (8")

Multi PWM Diffuse/Mode 170 S/R Switch XXXDDXMM

DD: LFO Diffuse: 00 (Off) DD: LFO Diffuse: 10 (Slow) DD: LFO Diffuse: 11 (Fast) MM: Mode: 00 (1) MM: Mode: 01 (2) MM: Mode: 10 (3)

Multi PWM LFO Vel/Mode/Kbd 171 S/R Switch KKKMMMWS

KKK: Kbd Scale: 000 (Off)

KKK: Kbd Scale: 110 (1/4) KKK: Kbd Scale: 111 (1/2) MMM: Mode: 001 (Decay) MMM: Mode: 101 (Attack/Deacy) MMM: Mode: 000 (LFO) MMM: Mode: 010 (Step) W: Width-LFO-Vel On/Off: (1/0)

Multi PWM Width Center 164 S/R Pot 0..255

Multi PWM Width Lfo Depth 167 S/R Pot 0..255 (-MaxÉ OffÉ +Max)

Multi PWM Width LFO Rate 166 S/R Pot 0..255 0,025HzÉ 20Hz

Multi PWM Space Center 165 S/R Pot 0..255

Multi PWM Space LFO Depth 169 S/R Pot 0..255 (-MaxÉ OffÉ +Max)

VCF 1/2 DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

LFO Source 100 S/R Switch DDCCBBAA

DD: 11: DF2-LFO-Sorce: LFO-DF1

DD: 10: DF2-LFO-Sorce: LFO-VCF1 DD: 01: DF2-LFO-Sorce: LFO-DF2 CC: 11: DF1-LFO-Sorce: LFO-VCF2 CC: 10: DF1-LFO-Sorce: LFO-VCF1 CC: 00: DF1-LFO-Sorce: LFO-DF1 BB: 00: VCF1-LFO-Sorce: LFO-VCF1 BB: 01: VCF1-LFO-Sorce: LFO-VCF2 BB: 11: VCF1-LFO-Sorce: LFO-VCF1+2 AA: 01: VCF2-LFO-Sorce: LFO-VCF1 AA: 00: VCF2-LFO-Sorce: LFO-VCF2

VCF 1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 79 S/R Switch DDBCCBAA

AA: VCF1 Input A

BB: VCF1 Input B CC: VCF2 Input A DD: VCF2 Input B AA/BB/CC/DD: 10: Osz1 01: Osz2 11: Osz2

Input B Filter/Level Mod 81 S/R Switch/M ABCDFFMM

A: VCF2-Filter Mod On/Off (1/0)

B: VCF1-Filter Mod On/Off (1/0) AB Edited in Preset Menu C: VCF2-Lev.Mod Vel. On/Off (1/0) D: VCF1-Lev.Mod Vel. On/Off (1/0) FF: 00: VCF2-Lev.Mod ENV-Off FF: 10: VCF2-Lev.Mod ENV-Attack FF: 01: VCF2-Lev.Mod ENV-Decay FF: 11: VCF2-Lev.Mod ENV-LFO MM: 00: VCF1-Lev.Mod ENV-Off MM: 10: VCF1-Lev.Mod ENV-Attack MM: 01: VCF1-Lev.Mod ENV-Decay

VCF12 Decay2 On/Off 61 S/R Switch BAXXXXXX

B: VCF1 Decay2 On/Off (1/0) A: VCF2 Decay2 On/Off (1/0)

VCF12 LFO-Sync-Mode 31 S/R M BBBBAAAA

BBBB: VCF2-Sync Mode

AAAA: VCF1-Sync Mode 0000 : Intern (LFO Time Pot.) 0001: Midi-Clock /32 0010: Midi-Clock /16 0011: Midi-Clock /16. 0100: Midi-Clock /8 0101: Midi-Clock /8. 0110: Midi-Clock /4 0111: Midi-Clock /4. 1000: Midi-Clock /2 1001: Midi-Clock /2. 1010: Midi-Clock /1 1011: Midi-Clock /1.

1100: Midi-Clock *2

Page 48

APPENDIX APPENDIX

VCF 1/2 DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

LFO Source 100 S/R Switch DDCCBBAA

DD: 11: DF2-LFO-Sorce: LFO-DF1 DD: 10: DF2-LFO-Sorce: LFO-VCF1 DD: 01: DF2-LFO-Sorce: LFO-DF2 CC: 11: DF1-LFO-Sorce: LFO-VCF2 CC: 10: DF1-LFO-Sorce: LFO-VCF1 CC: 00: DF1-LFO-Sorce: LFO-DF1 BB: 00: VCF1-LFO-Sorce: LFO-VCF1 BB: 01: VCF1-LFO-Sorce: LFO-VCF2 BB: 11: VCF1-LFO-Sorce: LFO-VCF1+2 AA: 01: VCF2-LFO-Sorce: LFO-VCF1 AA: 00: VCF2-LFO-Sorce: LFO-VCF2

VCF 1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 79 S/R Switch DDBCCBAA

AA: VCF1 Input A BB: VCF1 Input B CC: VCF2 Input A DD: VCF2 Input B AA/BB/CC/DD: 10: Osz1 01: Osz2 11: Osz2

Input B Filter/Level Mod 81 S/R Switch/M ABCDFFMM

A: VCF2-Filter Mod On/Off (1/0) B: VCF1-Filter Mod On/Off (1/0) AB Edited in Preset Menu C: VCF2-Lev.Mod Vel. On/Off (1/0) D: VCF1-Lev.Mod Vel. On/Off (1/0) FF: 00: VCF2-Lev.Mod ENV-Off FF: 10: VCF2-Lev.Mod ENV-Attack FF: 01: VCF2-Lev.Mod ENV-Decay FF: 11: VCF2-Lev.Mod ENV-LFO MM: 00: VCF1-Lev.Mod ENV-Off MM: 10: VCF1-Lev.Mod ENV-Attack MM: 01: VCF1-Lev.Mod ENV-Decay

VCF12 Decay2 On/Off 61 S/R Switch BAXXXXXX

B: VCF1 Decay2 On/Off (1/0) A: VCF2 Decay2 On/Off (1/0)

VCF12 LFO-Sync-Mode 31 S/R M BBBBAAAA

BBBB: VCF2-Sync Mode AAAA: VCF1-Sync Mode 0000 : Intern (LFO Time Pot.) 0001: Midi-Clock /32 0010: Midi-Clock /16 0011: Midi-Clock /16. 0100: Midi-Clock /8 0101: Midi-Clock /8. 0110: Midi-Clock /4 0111: Midi-Clock /4. 1000: Midi-Clock /2 1001: Midi-Clock /2. 1010: Midi-Clock /1 1011: Midi-Clock /1. 1100: Midi-Clock *2

DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 80 S/R Switch DDCCBBAA

AA: DF1 Input A

BB: DF1 Input B CC: DF2 Input A DD: DF2 Input B AA/BB/CC/DD: 00: Osz1 01: Osz2 10: Osz2

Resonance 131 S/R Switch XXBBBAAA

BBB: Reso-DF2

000..111 -> MinÉ Max AAA: Reso-DF1

ENV-Mode/DF1->2 Assign 130 S/R Switch XXXXXCBA

C: Assign DF1->DF2 Settings On/Off (1/0)

B: ENV-Mode DF2 0:ENV 1:Ramp

Group12 Out Mix + Group12 In

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input/output 109 S/R Switch GFEDCCBA

G: Input DF2-MIx A+B On/Off (1/0)

F: Input DF1-MIx A+B On/Off (1/0) E: VCF2 Out-Invert On/Off (1/0) D: VCF2 Out On/Off (0/1) CC: 00: VCF3-Input : Osz1 CC: 01: VCF3-Input : Osz2 CC: 10: VCF3-Input : Osz3 CC: 11: VCF3-Input : Osz4 B: VCF1 Out-Invert On/Off (1/0)

VCF3 Group1/2 Out 110 S/R Switch BAXXXXX1

B: Group2 VCF3-On/Off (1/0) A: Group1 VCF3-On/Off (1/0)

DF1/2 Group1/2 Out 114 S/R Switch XXFEDCBA

F: Group2 DF2 Dist-Vel. On/Off (1/0) E: Group1 DF1 Dist-Vel. On/Off (1/0)

D: Group2 DF2 Invert On/Off (1/0) C: Group1 DF1 Invert On/Off (1/0) B: Group2 DF2-Out On/Off (1/0)

Group1 Velocity 38 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group2 Velocity 39 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group1 Out DF1 Distortion 115 S/R Pot 0É 255

Group2 Out DF2 Distortion 116 S/R Pot 0É 255

Group1 Out DF1 Level 98 S/R Pot 0É 255

Group2 Out DF2 Level 99 S/R Pot 0É 255

Group1 Out VCF3 Level 111 S/R Pot 0É 255

Group2 Out VCF3 Level 112 S/R Pot 0É 255

VCF3 Cutoff 113 S/R Pot 0É 255

Group 1/2 Level Mod

Parameter NRPN# Send/Receive Typ Data Format Explanation

Mix Man/Fade-Controls 48 S/R Switch XXFFMSXX

FF: 01: Fade-Mode: 2->1

FF: 11: Fade-Mode: 2->1->2 FF: 10: Fade-Mode: 2->Min->2 FF: 00: Fade-Mode: 2->Min M: Mix-Mode: Man/Fade (1/0)

Group1/2 Man-Mix 49 S/R Pot 0É 255 Group1É Group2

Group1/2 Fade-Time 50 S/R Pot 0É 255

5msÉ 4S (Fade-Mode 2->1,2->Min)

10msÉ 8S (Fade-Mode 2->1->2)

Group1/2 Fade-Delay 51 S/R Pot 0É 255 0É 4,5S

LFO-Controls 57 S/R Switch DDDRVXXX

DDD: 000: Group-Dest: Off

DDD: 100: Group-Dest: 1 DDD: 010: Group-Dest: 2 DDD: 110: Group-Dest: 1+2 DDD: 111: Group-Dest: 1+ 2R: LFO-Note-Reset On/Off (1/0)

Mix-LFO-Depth 58 S/R Pot 0É 255

Mix-LFO-Rate 59 S/R Pot 0É 255 0É 4,5S

Group12 Out Mix + Group12 In

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input/output 109 S/R Switch GFEDCCBA

G: Input DF2-MIx A+B On/Off (1/0) F: Input DF1-MIx A+B On/Off (1/0) E: VCF2 Out-Invert On/Off (1/0) D: VCF2 Out On/Off (0/1) CC: 00: VCF3-Input : Osz1 CC: 01: VCF3-Input : Osz2 CC: 10: VCF3-Input : Osz3 CC: 11: VCF3-Input : Osz4 B: VCF1 Out-Invert On/Off (1/0)

VCF3 Group1/2 Out 110 S/R Switch BAXXXXX1

B: Group2 VCF3-On/Off (1/0) A: Group1 VCF3-On/Off (1/0)

DF1/2 Group1/2 Out 114 S/R Switch XXFEDCBA

F: Group2 DF2 Dist-Vel. On/Off (1/0) E: Group1 DF1 Dist-Vel. On/Off (1/0) D: Group2 DF2 Invert On/Off (1/0) C: Group1 DF1 Invert On/Off (1/0) B: Group2 DF2-Out On/Off (1/0)

Group1 Velocity 38 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group2 Velocity 39 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group1 Out DF1 Distortion 115 S/R Pot 0É 255

Group2 Out DF2 Distortion 116 S/R Pot 0É 255

Group1 Out DF1 Level 98 S/R Pot 0É 255

Group2 Out DF2 Level 99 S/R Pot 0É 255

Group1 Out VCF3 Level 111 S/R Pot 0É 255

Group2 Out VCF3 Level 112 S/R Pot 0É 255

VCF3 Cutoff 113 S/R Pot 0É 255

Group 1/2 Level Mod

Parameter NRPN# Send/Receive Typ Data Format Explanation

Mix Man/Fade-Controls 48 S/R Switch XXFFMSXX

FF: 01: Fade-Mode: 2->1 FF: 11: Fade-Mode: 2->1->2 FF: 10: Fade-Mode: 2->Min->2 FF: 00: Fade-Mode: 2->Min M: Mix-Mode: Man/Fade (1/0)

Group1/2 Man-Mix 49 S/R Pot 0É 255 Group1É Group2

Group1/2 Fade-Time 50 S/R Pot 0É 255

5msÉ 4S (Fade-Mode 2->1,2->Min) 10msÉ 8S (Fade-Mode 2->1->2) Group1/2 Fade-Delay 51 S/R Pot 0É 255 0É 4,5S

LFO-Controls 57 S/R Switch DDDRVXXX

DDD: 000: Group-Dest: Off DDD: 100: Group-Dest: 1 DDD: 010: Group-Dest: 2 DDD: 110: Group-Dest: 1+2 DDD: 111: Group-Dest: 1+ 2- R: LFO-Note-Reset On/Off (1/0)

Mix-LFO-Depth 58 S/R Pot 0É 255

Mix-LFO-Rate 59 S/R Pot 0É 255 0É 4,5S

Panorama-Controls 52 S/R Switch SDDVMMXD

S: Voice-Spread On/Off (1/0)

DDD: 000: Group-Dest: Off DDD: 001: Group-Dest: 1 DDD: 010: Group-Dest: 2 DDD: 011: Group-Dest: 1+2 DDD: 111: Group-Dest: 1+ 2V: LFO-Depth-Velocity On/Off (1/0) MM: 01: LFO-Mode: L>R MM: 10: LFO-Mode: L>R>L

Panorama-LFO-Depth 55 S/R Pot 0É 255

Panorama-LFO-Rate 56 S/R Pot 0É 255

0,025HzÉ 10Hz (LFO-Continuous)

20SÉ 40ms (LFO-Mode: L>R)

Group1 Pan-Offset 53 S/R Pot 0É 255 LeftÉ Rigth

Group2 Pan-Offset 54 S/R Pot 0É 255 LeftÉ Rigth

Master ENV/VCA-VCF12 Retrigg

Parameter NRPN# Send/Receive Typ Data Format Explanation

Soft/VCA-VCF12-Retrigg 60 S/R Switch XXXXDCBA

D: VCF1-Retrigg On/Off (1/0)

C: VCF2-Retrigg On/Off (1/0) B: VCA-Soft On/Off (1/0)

Sound Volume 32 S/R Pot 0É 255

Attack 33 S/R Pot 0É 255 1msÉ 10ms

Decay 34 S/R Pot 0É 255 2msÉ 20S

Sustain 35 S/R Pot 0É 255

Release 36 S/R Pot 0É 255 2msÉ 20S

Release-Level 37 S/R Pot 0É 255

Glide/Bend

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Pitch Bend 148 S/R Pot

0,1,2

3É 13 14 1É 28

(-12HT)

(-11HTÉ -1HT) Off (+1É +11HT)

Page 49

APPENDIX APPENDIX

OSZ 123

Parameter NRPN# Send/Receive Typ Data Format Explanation

PWM Settings 154 S/R Switch LMKKMVXR

L: Max Limit On/Off (1/0)

MM: LFO-Mode: 01 (One-Shot) MM: LFO-Mode: 00 (Triangle) MM: LFO-Mode: 10 (Sine) KK: Kbd Scale: 00 (Off) KK: Kbd Scale: 10 (1/4) KK: Kbd Scale: 11 (1/2) V: Vel-LFO-Depth On/Off (1/0)

OSZ 1234

Parameter NRPN# Send/Receive Typ Data Format Explanation

Vibrato Assign 222 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Envelope Assign 223 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Unisono Tune (Mono) 72 S/R M 0É 255

Single Fine Tune 73 S/R M 0É 128É 255 (-50CentÉ 0É +50Cent)

Single Transpose 74 S/R M 244É 255

0É 12

(-12HTÉ -1HT) (0É +12HT)

OSZ 1

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Vibrato Wave 206 S/R Switch 0

1 2

Sine

Square Random

Vibrato Depth 198 S/R Pot 0...255

Vibrato Rate 202 S/R Pot 0É 255 0,1HzÉ 75Hz

0,2HzÉ 150Hz (Wave:Random)

Env Destination/Mode 218 S/R Switch DDXXQMVM

Q: Quant On/Off (1/0)

V: Vel On/Off (1/0) DD: Dest: 00 (Pitch) DD: Dest: 10 (Vib.Depth) DD: Dest: 11 (Noise Depth) MM: Mode: 00 (Decay Exp) MM: Mode: 10 (Decay Lin)

Envelope Depth 210 S/R Pot 0É 255 (-15HTÉ +15HT)

Envelope Time 214 S/R Pot 0É 255

12msÉ 6,1S (Decay Lin/Exp) 7,5msÉ 3,8S (Attack/Decay)

Noise Modulation 152 S/R Pot 0...255

Detune 149 S/R Pot 0...255

ﬁne on: (-15...+15Cent) ﬁne off: (-75...+75Cent)

Semitone 153 S/R Pot 2,4,6,8É 30 (-7HTÉ +7HT)

Detune Fine/KBD Scale/Wave 150 S/R Switch KKFXXWWW

KK: Kbd Scale: 00 (Off)

Octave/Sub Octave 151 S/R Switch XSSSXXOO

SSS: Sub-Oct: 000 (Off)

SSS: Sub-Oct: 001 (64") SSS: Sub-Oct: 010 (32") SSS: Sub-Oct: 011 (16") SSS: Sub-Oct: 100 (8") OO: Octave: 00 (32") OO: Octave: 01 (16") OO: Octave: 10 (8")

Multi PWM Diffuse/Mode 170 S/R Switch XXXDDXMM

DD: LFO Diffuse: 00 (Off)

DD: LFO Diffuse: 10 (Slow) DD: LFO Diffuse: 11 (Fast) MM: Mode: 00 (1) MM: Mode: 01 (2) MM: Mode: 10 (3)

NRPN CONTROLLER

OSZ 123

Parameter NRPN# Send/Receive Typ Data Format Explanation

PWM Settings 154 S/R Switch LMKKMVXR

OSZ 1234

Parameter NRPN# Send/Receive Typ Data Format Explanation

Vibrato Assign 222 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Envelope Assign 223 S/R Switch

1XXXXXXX 0XXXXXXX

Assign to Osz1234 Off Assign to Osz1234 On

Unisono Tune (Mono) 72 S/R M 0É 255

Single Fine Tune 73 S/R M 0É 128É 255 (-50CentÉ 0É +50Cent)

Single Transpose 74 S/R M 244É 255

0É 12

(-12HTÉ -1HT) (0É +12HT)

OSZ 1

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Vibrato Wave 206 S/R Switch 0

1 2

Sine Square Random

Vibrato Depth 198 S/R Pot 0...255

Vibrato Rate 202 S/R Pot 0É 255 0,1HzÉ 75Hz

0,2HzÉ 150Hz (Wave:Random)

Env Destination/Mode 218 S/R Switch DDXXQMVM

Q: Quant On/Off (1/0) V: Vel On/Off (1/0) DD: Dest: 00 (Pitch) DD: Dest: 10 (Vib.Depth) DD: Dest: 11 (Noise Depth) MM: Mode: 00 (Decay Exp) MM: Mode: 10 (Decay Lin)

Envelope Depth 210 S/R Pot 0É 255 (-15HTÉ +15HT)

Envelope Time 214 S/R Pot 0É 255

12msÉ 6,1S (Decay Lin/Exp) 7,5msÉ 3,8S (Attack/Decay)

Noise Modulation 152 S/R Pot 0...255

Detune 149 S/R Pot 0...255

ﬁne on: (-15...+15Cent) ﬁne off: (-75...+75Cent)

Semitone 153 S/R Pot 2,4,6,8É 30 (-7HTÉ +7HT)

Detune Fine/KBD Scale/Wave 150 S/R Switch KKFXXWWW

Octave/Sub Octave 151 S/R Switch XSSSXXOO

SSS: Sub-Oct: 000 (Off) SSS: Sub-Oct: 001 (64") SSS: Sub-Oct: 010 (32") SSS: Sub-Oct: 011 (16") SSS: Sub-Oct: 100 (8") OO: Octave: 00 (32") OO: Octave: 01 (16") OO: Octave: 10 (8")

Multi PWM Diffuse/Mode 170 S/R Switch XXXDDXMM

DD: LFO Diffuse: 00 (Off) DD: LFO Diffuse: 10 (Slow) DD: LFO Diffuse: 11 (Fast) MM: Mode: 00 (1) MM: Mode: 01 (2) MM: Mode: 10 (3)

Multi PWM LFO Vel/Mode/Kbd 171 S/R Switch KKKMMMWS

KKK: Kbd Scale: 000 (Off)

KKK: Kbd Scale: 110 (1/4) KKK: Kbd Scale: 111 (1/2) MMM: Mode: 001 (Decay) MMM: Mode: 101 (Attack/Deacy) MMM: Mode: 000 (LFO) MMM: Mode: 010 (Step) W: Width-LFO-Vel On/Off: (1/0)

Multi PWM Width Center 164 S/R Pot 0..255

Multi PWM Width Lfo Depth 167 S/R Pot 0..255 (-MaxÉ OffÉ +Max)

Multi PWM Width LFO Rate 166 S/R Pot 0..255 0,025HzÉ 20Hz

Multi PWM Space Center 165 S/R Pot 0..255

Multi PWM Space LFO Depth 169 S/R Pot 0..255 (-MaxÉ OffÉ +Max)

VCF 1/2 DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

LFO Source 100 S/R Switch DDCCBBAA

DD: 11: DF2-LFO-Sorce: LFO-DF1

VCF 1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 79 S/R Switch DDBCCBAA

AA: VCF1 Input A

BB: VCF1 Input B CC: VCF2 Input A DD: VCF2 Input B AA/BB/CC/DD: 10: Osz1 01: Osz2 11: Osz2

Input B Filter/Level Mod 81 S/R Switch/M ABCDFFMM

A: VCF2-Filter Mod On/Off (1/0)

VCF12 Decay2 On/Off 61 S/R Switch BAXXXXXX

B: VCF1 Decay2 On/Off (1/0) A: VCF2 Decay2 On/Off (1/0)

VCF12 LFO-Sync-Mode 31 S/R M BBBBAAAA

BBBB: VCF2-Sync Mode

1100: Midi-Clock *2

Page 50

APPENDIX APPENDIX

VCF 1/2 DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

LFO Source 100 S/R Switch DDCCBBAA

DD: 11: DF2-LFO-Sorce: LFO-DF1 DD: 10: DF2-LFO-Sorce: LFO-VCF1

DD: 01: DF2-LFO-Sorce: LFO-DF2

CC: 11: DF1-LFO-Sorce: LFO-VCF2 CC: 10: DF1-LFO-Sorce: LFO-VCF1

CC: 00: DF1-LFO-Sorce: LFO-DF1

BB: 00: VCF1-LFO-Sorce: LFO-VCF1

BB: 01: VCF1-LFO-Sorce: LFO-VCF2 BB: 11: VCF1-LFO-Sorce: LFO-VCF1+2 AA: 01: VCF2-LFO-Sorce: LFO-VCF1 AA: 00: VCF2-LFO-Sorce: LFO-VCF2

VCF 1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 79 S/R Switch DDBCCBAA

AA: VCF1 Input A

BB: VCF1 Input B CC: VCF2 Input A DD: VCF2 Input B

AA/BB/CC/DD: 10: Osz1

01: Osz2

11: Osz2

Input B Filter/Level Mod 81 S/R Switch/M ABCDFFMM

A: VCF2-Filter Mod On/Off (1/0)

B: VCF1-Filter Mod On/Off (1/0)

AB Edited in Preset Menu C: VCF2-Lev.Mod Vel. On/Off (1/0)

D: VCF1-Lev.Mod Vel. On/Off (1/0)

FF: 00: VCF2-Lev.Mod ENV-Off

FF: 10: VCF2-Lev.Mod ENV-Attack

FF: 01: VCF2-Lev.Mod ENV-Decay

FF: 11: VCF2-Lev.Mod ENV-LFO

MM: 00: VCF1-Lev.Mod ENV-Off MM: 10: VCF1-Lev.Mod ENV-Attack

MM: 01: VCF1-Lev.Mod ENV-Decay

VCF12 Decay2 On/Off 61 S/R Switch BAXXXXXX

B: VCF1 Decay2 On/Off (1/0)

A: VCF2 Decay2 On/Off (1/0)

VCF12 LFO-Sync-Mode 31 S/R M BBBBAAAA

BBBB: VCF2-Sync Mode

AAAA: VCF1-Sync Mode

0000 : Intern (LFO Time Pot.)

0001: Midi-Clock /32 0010: Midi-Clock /16

0011: Midi-Clock /16.

0100: Midi-Clock /8

0101: Midi-Clock /8. 0110: Midi-Clock /4

0111: Midi-Clock /4.

1000: Midi-Clock /2

1001: Midi-Clock /2.

1010: Midi-Clock /1 1011: Midi-Clock /1.

1100: Midi-Clock *2

DF1/2

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input Source 80 S/R Switch DDCCBBAA

AA: DF1 Input A

BB: DF1 Input B CC: DF2 Input A DD: DF2 Input B AA/BB/CC/DD: 00: Osz1 01: Osz2 10: Osz2

Resonance 131 S/R Switch XXBBBAAA

BBB: Reso-DF2

000..111 -> MinÉ Max AAA: Reso-DF1

ENV-Mode/DF1->2 Assign 130 S/R Switch XXXXXCBA

C: Assign DF1->DF2 Settings On/Off (1/0)

B: ENV-Mode DF2 0:ENV 1:Ramp

VCF1

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Input Level A 82 S/R Pot 0...255

Input Level B 83 S/R Pot 0...255

Input Level DF1 Out 96 S/R Pot 0...255

Level B Mod Time 86 S/R Pot 0...255

ENV Attack/Decay: 12,5msÉ 25S

ENV LFO: 40HzÉ 0,02Hz

Filter Mode (LP-BP-HP) 76 S/R Pot 0É 128É 255 LPÉ BPÉ HP

Group12 Out Mix + Group12 In

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input/output 109 S/R Switch GFEDCCBA

G: Input DF2-MIx A+B On/Off (1/0)

VCF3 Group1/2 Out 110 S/R Switch BAXXXXX1

B: Group2 VCF3-On/Off (1/0)

A: Group1 VCF3-On/Off (1/0)

DF1/2 Group1/2 Out 114 S/R Switch XXFEDCBA

F: Group2 DF2 Dist-Vel. On/Off (1/0)

E: Group1 DF1 Dist-Vel. On/Off (1/0) D: Group2 DF2 Invert On/Off (1/0) C: Group1 DF1 Invert On/Off (1/0) B: Group2 DF2-Out On/Off (1/0)

Group1 Velocity 38 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group2 Velocity 39 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group1 Out DF1 Distortion 115 S/R Pot 0É 255

Group2 Out DF2 Distortion 116 S/R Pot 0É 255

Group1 Out DF1 Level 98 S/R Pot 0É 255

Group2 Out DF2 Level 99 S/R Pot 0É 255

Group1 Out VCF3 Level 111 S/R Pot 0É 255

Group2 Out VCF3 Level 112 S/R Pot 0É 255

VCF3 Cutoff 113 S/R Pot 0É 255

Group 1/2 Level Mod

Parameter NRPN# Send/Receive Typ Data Format Explanation

Mix Man/Fade-Controls 48 S/R Switch XXFFMSXX

FF: 01: Fade-Mode: 2->1

FF: 11: Fade-Mode: 2->1->2 FF: 10: Fade-Mode: 2->Min->2 FF: 00: Fade-Mode: 2->Min M: Mix-Mode: Man/Fade (1/0)

Group1/2 Man-Mix 49 S/R Pot 0É 255 Group1É Group2

Group1/2 Fade-Time 50 S/R Pot 0É 255

5msÉ 4S (Fade-Mode 2->1,2->Min)

10msÉ 8S (Fade-Mode 2->1->2)

Group1/2 Fade-Delay 51 S/R Pot 0É 255 0É 4,5S

LFO-Controls 57 S/R Switch DDDRVXXX

DDD: 000: Group-Dest: Off

DDD: 100: Group-Dest: 1 DDD: 010: Group-Dest: 2 DDD: 110: Group-Dest: 1+2 DDD: 111: Group-Dest: 1+ 2R: LFO-Note-Reset On/Off (1/0)

Group12 Out Mix + Group12 In

Parameter NRPN# Send/Receive Typ Data Format Explanation

Input/output 109 S/R Switch GFEDCCBA

G: Input DF2-MIx A+B On/Off (1/0)

F: Input DF1-MIx A+B On/Off (1/0)

E: VCF2 Out-Invert On/Off (1/0)

D: VCF2 Out On/Off (0/1)

CC: 00: VCF3-Input : Osz1

CC: 01: VCF3-Input : Osz2

CC: 10: VCF3-Input : Osz3

CC: 11: VCF3-Input : Osz4

B: VCF1 Out-Invert On/Off (1/0)

VCF3 Group1/2 Out 110 S/R Switch BAXXXXX1

B: Group2 VCF3-On/Off (1/0)

A: Group1 VCF3-On/Off (1/0)

DF1/2 Group1/2 Out 114 S/R Switch XXFEDCBA

F: Group2 DF2 Dist-Vel. On/Off (1/0)

E: Group1 DF1 Dist-Vel. On/Off (1/0)

D: Group2 DF2 Invert On/Off (1/0)

C: Group1 DF1 Invert On/Off (1/0)

B: Group2 DF2-Out On/Off (1/0) Group1 Velocity 38 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group2 Velocity 39 S/R Pot 0É 128É 255 (-MaxÉ OffÉ +Max)

Group1 Out DF1 Distortion 115 S/R Pot 0É 255

Group2 Out DF2 Distortion 116 S/R Pot 0É 255

Group1 Out DF1 Level 98 S/R Pot 0É 255

Group2 Out DF2 Level 99 S/R Pot 0É 255

Group1 Out VCF3 Level 111 S/R Pot 0É 255

Group2 Out VCF3 Level 112 S/R Pot 0É 255

VCF3 Cutoff 113 S/R Pot 0É 255

Group 1/2 Level Mod

Parameter NRPN# Send/Receive Typ Data Format Explanation

Mix Man/Fade-Controls 48 S/R Switch XXFFMSXX

FF: 01: Fade-Mode: 2->1

FF: 11: Fade-Mode: 2->1->2

FF: 10: Fade-Mode: 2->Min->2

FF: 00: Fade-Mode: 2->Min

M: Mix-Mode: Man/Fade (1/0) Group1/2 Man-Mix 49 S/R Pot 0É 255 Group1É Group2

Group1/2 Fade-Time 50 S/R Pot 0É 255

5msÉ 4S (Fade-Mode 2->1,2->Min)

10msÉ 8S (Fade-Mode 2->1->2) Group1/2 Fade-Delay 51 S/R Pot 0É 255 0É 4,5S

LFO-Controls 57 S/R Switch DDDRVXXX

DDD: 000: Group-Dest: Off

DDD: 100: Group-Dest: 1

DDD: 010: Group-Dest: 2

DDD: 110: Group-Dest: 1+2

DDD: 111: Group-Dest: 1+ 2-

R: LFO-Note-Reset On/Off (1/0) Mix-LFO-Depth 58 S/R Pot 0É 255

Mix-LFO-Rate 59 S/R Pot 0É 255 0É 4,5S

Panorama-Controls 52 S/R Switch SDDVMMXD

S: Voice-Spread On/Off (1/0)

Panorama-LFO-Depth 55 S/R Pot 0É 255

Panorama-LFO-Rate 56 S/R Pot 0É 255

0,025HzÉ 10Hz (LFO-Continuous)

20SÉ 40ms (LFO-Mode: L>R)

Group1 Pan-Offset 53 S/R Pot 0É 255 LeftÉ Rigth

Group2 Pan-Offset 54 S/R Pot 0É 255 LeftÉ Rigth

Master ENV/VCA-VCF12 Retrigg

Parameter NRPN# Send/Receive Typ Data Format Explanation

Soft/VCA-VCF12-Retrigg 60 S/R Switch XXXXDCBA

D: VCF1-Retrigg On/Off (1/0)

C: VCF2-Retrigg On/Off (1/0) B: VCA-Soft On/Off (1/0)

Sound Volume 32 S/R Pot 0É 255

Attack 33 S/R Pot 0É 255 1msÉ 10ms

Decay 34 S/R Pot 0É 255 2msÉ 20S

Sustain 35 S/R Pot 0É 255

Release 36 S/R Pot 0É 255 2msÉ 20S

Release-Level 37 S/R Pot 0É 255

Glide/Bend

Parameter NRPN# Send/Receive Send/Receive Data Format Explanation

Pitch Bend 148 S/R Pot

0,1,2

3É 13 14 1É 28

(-12HT)

(-11HTÉ -1HT) Off (+1É +11HT)

Page 51

APPENDIX APPENDIX

TECHNICAL SPECIFICATIONS

Polyphony

• Eight Voices, Unisono mode, Multi mode (eight parts)

Oscillators

• Osc 1: Square (50%), PWM, SAW, Double-SAW, Noise, Multi-Pulse, additional suboscillator

• Osc 2: Square (50%), PWM, SAW, Double-SAW, Noise, Ringmod (Source Osc 3)

• Osc 3: Square (50%), PWM, SAW, Double-SAW, Noise, Sync (Source Osc 2), Sync with additional

suboscillator

• Osc 4: 32 combinations of ringmodulated square-waves.

Special lter features

• VCF 1/2: 24dB Moog-style ladder lter – with additional bandpass and highpass functions

• VCF 1/2: with oscillator modulation by Osc. 1 – 4

• VCF 1/2: envelopes with double-decay feature

• DF 1/2: dual lter with oscillator modulation

• DF 1/2: distortion

• Spread-modulation of both cutoff frequencies of DF1/2 (duallter)

Sound memory (Singles – Multis)

• 1024 singles (8 banks / 128 singles)

• 256 multis (8 banks / 32 multis)

Real Time Controls

• Aftertouch

• Joystick (X/Y)

• Mod-Wheel

• External inputs for control voltages and/or foot pedals/switches

Inputs/Outputs

• 1 Stereo master output, stereo (jack, unbalanced)

• 8 single outputs (voice 1…8, jack, unbalanced)

• Midi In/Out/Thru, MIDI via USB

• 4 External Inputs (switching controller)

• 4 External Inputs (continuous controller)

• Stereo phones output with independent level control

Additional features

• Fatar-Keyboard 61-keys half weigthed with aftertouch

• Adjustable colors for LEDs and LC-Display

• Internal power-supply 110V/220V

• Weight: 99.2 lbs (45 Kg)

• Dimensions (inch): 44.9 x 5.5 x 24.0

(cm) : 114 x 14 x 61

WARRANTY REGULATIONS

SERVICE AND TERMS OF WARRANTY.

Concerning service and warranty conditions, please refer to our terms of business.

You will nd our terms of business at:

www.emc-de.com EMC, Untere Bergstraße 19, D-89129 Langenau, Germany

EMC warrants, that the described product has been free of failures within parts or components of the hardware and was found to be fully functional. Please carefully read the following information, which is important in the case of probable damages or malfunctions:

If goods are being found defective, missing features described within the present documentation or becoming defec-

tive due to eventual fabrication deciency or material defects within the rst twelve months after purchase, then EMC

shall at its sole discretion and evaluation replace or repair the defective parts or goods at no cost. Multiple repairs

shall be permissible. In case the malfunction or physical failure can not be xed, customer receives the right to cancel

the purchase with refund of the amount originally paid for the defective product. In case testing shows no physical damages, customer will be charged for testing procedure and services.

Any deciencies caused by transportation have to be declared within a 14 days period after receipt of goods by written notice. Please note, that any warranty repair at no cost ruled by the above regulations requires registration of name

and address by sending the proof of purchase together with the defective product.

To return defective goods, please contact the retailer where you purchased the product. As an alternative you can also contact EMC directly. PLEASE NOTE: Please add a description of the failure occurred to enable us executing the repair as soon as possible.

EMC, Untere Bergstraße 19, D-89129 Langenau, Germany

phone: 049(0)7345 2381410 fax: 049(0)7345 2381411

info@emc-de.com

The hardware described within this documentation is herewith certied to conform to the requirements set forth in the

guidelines for electromagnetic acceptability (89/336/EWG)

DISPOSAL

This device complies to the EU guidelines and is manufactured RoHS conform without the use of led, mercury, cadmium and chrome. Still, this device is special waste and disposal in household waste is not permitted.

For disposal, please contact your dealer or:

EMC, Untere Bergstraße 19, D-89129 Langenau, Germany

phone: 049(0)7345 2381410 fax: 049(0)7345 2381411

info@emc-de.com

Page 52

100

101

APPENDIX APPENDIX

LEGAL DECLARATIONS

COMPLIANCE

FCC INFORMATION (U.S.A)

IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions

contained in this manual, meets FCC requirements. Modications not expressly approved by EMC may void your

authority, granted by the FCC, to use this product. IMPORTANT: When connecting this product to accessories and/

or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all

installation instructions. Failure to follow instructions could void your FCC authorisation to use this product in the USA.

NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class „B“ digital devices. Compliance with these requirements provides a reasonable level of assurance that your

use of this product in residential environment will not result in harmful interference with other electronic devices. This

equipment generates/ uses radio frequencies and, if not installed and used according to the instructions found in the

user manual, may cause interference harmful to the operation of other electronic devices, Compliance with FCC regulations does not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determinated by turning the unit ”OFF“ and ”ON“, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interfer-

ence. Utilise power outlets that are on branch (Circuitbreaker or fuse) circuits or install AC line lter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to coaxial type cable. If these corrective measures do not produce satisfactory results, please contact the local

retailer authorised to distribute this type of product. The statements above apply ONLY to products distributed in the USA.

SCHMIDT Keyboard Version 1.0 FCC Information (CANADA) FCC INFORMATION (CANADA) The digital section of this apparatus does not exceed the ”Class B“ limits for radio noise emmissions from digital apparatus set out in the radio interference regulation of the Canadian Department of Communications. Le present appareil

numerique n’emet pas debruit radioelectriques depassant les limites applicables aux appareils numerique de la „Class B“ prescrites dans la reglement sur le brouillageradioelectrique edicte par le Ministre Des Communication du Canada. This only applies to products distributed in Canada. Ceci ne s’applique qu’aux produits distribues dans Canada

OTHER STANDARDS (REST OF WORLD)

This product complies with the radio frequency interference requirements of the Council Directive 89/336/EC.

Cet appareil est conforme aux prescriptions de la directive communitaire 89/336/EC. Dette apparat overholder det

gaeldenda EF-direktivvedrorendareadiostoj. Dieses Gerät entspricht der EG-Richtlinie 89/336/EC.192

DECLARATION OF CONFORMITY

The following devices SCHMIDT Keyboard are hereby declared to conform with the requirements of Council Directive 89/336/FWG for radio frequency interference.

They also comply with regulations dated August 30th, 1995 concerning radio interference generated by electronic

devices. The following standards have been applied: EM 50 082-1 : 1992 , EN 50 081-1 : 1992 , EN60065 : 1993

This declaration has been given responsibly on behalf of the manufacturer:

EMC Untere Bergstraße 19 D-89129 Langenau Germany phone: 049(0)7345 2381410 fax: 049(0)7345 2381411

info@emc-de.com

THANKS TO

Stefan Schmidt: Product conception, hard- and software design

Axel Hartmann / Designbox: Product design

Dirk Krause, Stefan Schmidt: Sound design

Matthias Fuchs / VISOPHON, Stephen Parsick: User manual

OWNERSHIPS

Windows is a registered trademark of Microsoft Corporation in the United States and other countries.

Mac and OSX are trademarks of Apple Inc., registered in the United States and other countries.

IMPRINT

Manual conceived and written by Matthias Fuchs / VISOPHON, Berlin, Germany.

Edited, surveyed, brushed up, and ne-tuned into oblivion by Stephen Parsick.

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

Specications subject to change without notice.

Although the content of this owners manual has been thoroughly checked for errors, EMC cannot guarantee that it is

error-free throughout. EMC cannot be held liable for any misleading or incorrect information within this guide.

User manual vers. 1.0

Untere Bergstraße 19 D-89129 Langenau

www.emc-de.com

Tel: 07345 2381410 Fax:07345 2381411 info

emc-de.com

Page 53

Untere Bergstraße 19 D-89129 Langenau, Germany www.schmidt-synthesizer.com

Tel: +49 7345 2381410 Fax:+49 7345 2381411 www.emc-de.com info@emc-de.com