EMC schmidt User Manual

USER MANUAL

VERS. 1.0

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

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.

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

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…

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)

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

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.

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

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

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.

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

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

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

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

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!

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EMC schmidt User Manual

Specifications and Main Features

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User Manual