EMC Schmidt User manual

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USER MANUAL
VERS. 1.0

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

3
PREPARATIONS
4
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.

45
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
I.
PREPARATIONS

67
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
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…

89
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)

10 11
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

12 13
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
FM Sync
A
B
A
B
Oscillator 2
Oscillator 3
Oscillator 4
Sub-Osc
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Voice Out
Stereo Out /
Headphone
Out
VCF 3
Master
VCA
R
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Dual Filter 1
Dual Filter 2
VCF 2
Mod In
Mod In
In A/B Out
Out A
Out B
Out A
Out B
Out
A
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In B
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Dual Filter 1
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In A
In B
Group 1
Group 2
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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.

14 15
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

16 17
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
RSquare Pitch Vibrato LFO, Noise
PWM Pulse
Pulse
Pitch
Pulse Width
Vibrato LFO, Noise
PWM LFO 1
SSawtooth 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
Waveform-
Generation
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 Sand 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 1to 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

18 19
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
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.

20 21
OSCILLATOR SECTION – PROGRAMMING OSCILLATOR SECTION – PROGRAMMING
Noise
Mod
Pitch
Mod
Multi
PWM
Multi
PWM
Vel. Vel.
Tune PWM
Ring
mod
from
Osc 4
OSC 1
1
2
3
SUB-OSC 1
LFO-
Space
P
W
M
-
L
F
O
Sync
LFO-
Width
Vel.
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
Vel.
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Vel.
+
x
Noise
Mod
Pitch
Mod
Multi
PWM
Multi
PWM
Vel.
Vel.
Tune
PWM
Ring
mod
OSC 1
SUB-OSC 1
LFO-
Space
LFO-
Width
+
x
1
2
3
P
W
M
-
L
F
O
Sync
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
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).
• 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 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
RSquare 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

22 23
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
RSquare
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
Waveform-
Generation
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
disabled
disabled
Square Wave 32“ - 4“
Square Wave 32“ - 4“
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
disabled
disabled
disabled
or
or

24 25
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
Pitch
Mod
Level
Mod
1
2
3
P
W
M
-
L
F
O
Sync
Sync
Noise
Mod
Tune PWM
OSC 2
SUB-OSC 2
Vel.
Vel.
Vel.
Vel.
Vel.
Noise
Mod
Tune PWM
FM Ring
Mod
OSC 3
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
Vel.
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Vel.
x
+
x
1
2
3
P
W
M
-
L
F
O
Sync
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Pitch
Mod
Noise
Mod
Tune
PWM
OSC 2
SUB-OSC 2
x
Pitch
Mod
Noise
Mod
Tune
PWM
FM
Ring
Mod
OSC 3
x
+
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.
Vel.
Add. Pitch Mod
M/F-
Pitch
LFO
+
Vel.
Vel.
Add. Pitch Mod
M/F
-
Pitch
LFO
+

26 27
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.
RM
1
2
32 Wave-Presets
Output A
Output B
3456
RM RM RM RM
Mod LFO
Waveform-
Generation
Preset
1 x
cont. Preset
Rate
Rate
Velocity Velocity
Level AB
Level AB
Preset 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.
Vel.
Vel.
Vel.
Vel.
Vel.
Pitch
Mod
Noise
Mod
Tune Wave
Mod
OSC 4
E
n
v
e
l
o
p
e
1
2
3
4
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Vel.
x
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
LFO
Vel.
Pitch
Mod
Noise
Mod
Tune
Wave
Mod
OSC 4
x
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

28 29
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!

30 31
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
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
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Vel.
x
+
+
x
x
x
Pitch
Mod
Tune
OSC 1
SUB-OSC 1
+
x
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Pitch
Mod
Tune
OSC 2
SUB-OSC 2
x
from ENV 3
Pitch
Mod
Tune
OSC 3
x
+
Pitch
Mod
Tune
OSC 4
x
Modulation-Depth
Modulation-Depth with
additional Velocity Control
Level-Modulation
Pitch-Modulation
by Vibrato LFO 1-4
Vel.
Vel.
Add. Pitch Mod
M/F-
Pitch
LFO
+
Vel.
Vel.
M/F
-
Pitch
LFO
+

32 33
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
Pitch
Mod
Level
Mod
Tune
from Vibrato
LFO 1
from Vibrato
LFO 2
from Vibrato
LFO 3
from Vibrato
LFO 4
to
Vibrato LFO 1-4
OSC 1
SUB-OSC 1
LFO
Noise
Mod
Tune
OSC 2
SUB-OSC 2
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
Noise
Mod
Tune
Pitch
Mod
Noise
Mod
Tune Wave
Mod
OSC 3
OSC 4
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
x
+
+
x
x
x
Noise
Mod
Pitch
Mod
Tune
OSC 1
SUB-OSC 1
+
x
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Pitch
Mod
Noise
Mod
Tune
OSC 2
SUB-OSC 2
x
Pitch
Mod
Noise
Mod
Tune
OSC 3
x
+
LFO
Vel.
Pitch
Mod
Noise
Mod
Tune
Wave
Mod
OSC 4
x
Modulation-Depth
Modulation-Depth with additional Velocity Control
Level-Modulation
Pitch/Noise-Modulation by Envelope 1-4
Vel.
Vel.
Add. Pitch Mod
M/F-
Pitch
LFO
+
Vel.
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
Multi
PWM
Vel. Vel.
PWM
OSC 1
1
2
3
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.
Vel.
Vel.
Vel.
+
+
Multi
PWM
Multi
PWM
Vel.
Vel.
PWM
OSC 1
SUB-OSC 1
LFO-
Space
LFO-
Width
+
1
2
3
P
W
M
-
L
F
O
Sync
Vel.
Vel.
Vel.
PWM
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)

34 35
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
Ring
mod
OSC 1
SUB-OSC 1
Sync
OSC 2
SUB-OSC 2
FM
OSC 3
OSC 4
+
+
OSC 1
SUB-OSC 1
+
OSC 4
OSC 2
SUB-OSC 2
Ring
mod
FM
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
Pitch
Mod
Level
Mod
Multi
PWM
Multi
PWM
Vel. Vel.
Tune PWM
Ring
mod
OSC 1
1
2
3
SUB-OSC 1
LFO-
Space
P
W
M
-
L
F
O
Sync
Sync
LFO-
Width
LFO
Noise
Mod
Tune PWM
OSC 2
SUB-OSC 2
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
Noise
Mod
Tune PWM
FM Ring
Mod
Pitch
Mod
Noise
Mod
Tune Wave
Mod
OSC 3
OSC 4
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
Vel.
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Vel.
x
+
+
x
x
x
Noise
Mod
Pitch
Mod
Multi
PWM
Multi
PWM
Vel.
Vel.
Tune
PWM
Ring
mod
OSC 1
SUB-OSC 1
LFO-
Space
LFO-
Width
+
x
Sync
1
P
W
M
-
L
F
O
2
3
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
Vel.
E
n
v
e
l
o
p
e
1
2
3
4
Vel.
V
i
b
r
a
t
o
-
L
F
O
1
2
3
4
Pitch
Mod
Noise
Mod
Tune
PWM
OSC 2
SUB-OSC 2
x
Pitch
Mod
Noise
Mod
Tune
PWM
FM
Ring
Mod
OSC 3
x
+
LFO
Vel.
Pitch
Mod
Noise
Mod
Tune
Wave
Mod
OSC 4
x
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.
Vel.
Add. Pitch Mod
M/F-
Pitch
LFO
+
Vel.
Vel.
M/F
-
Pitch
LFO
+

36 37
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
FM Sync
A
B
A
B
Oscillator 2
Oscillator 3
Oscillator 4
Sub-Osc
G
r
o
u
p
1
I
n
G
r
o
u
p
2
I
n
G
r
o
u
p
1
O
u
t
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
l
-
M
o
d
G
r
o
u
p
2
O
u
t
VCF 1
Voice Out
Stereo Out /
Headphone
Out
VCF 3
Master
VCA
R
L
Dual Filter 1
Dual Filter 2
VCF 2
Mod In
Mod In
In A/B Out
Out A
Out B
Out A
Out B
Out
A
B
B
B
B
A
A
A
In A/B
In A
In B
In A
In B
G
r
o
u
p
1
O
u
A
B
t
VCF 1
Dual Filter 1
Mod In
In A/B
Out
Out A
Out B
In A
In B
A
B
G
r
o
u
p
2
O
u
t
Dual Filter 2
VCF 2
Mod In
Out A
Out B
Out
In A/B
In A
In B
Group 1
Group 2
G
r
o
u
p
1
I
n
A
B
B
A
G
r
o
u
p
2
I
n
B
B
A
A
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.