Schippmann CS-8 Series User manual

CS-8 Series
Owners manual PHS-28

CS-8 Series PHS-28 Rev1.01, Dec. 2013
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User manual by Carsten Schi mann
Gra hic design CS-8 Series: Carsten Schi mann
Conce t and develo ment: Carsten Schi mann
English translation by Carsten Schi mann
Contact:
Schi mann electronic musical instruments
Di l.-Ing. Carsten Schi mann
Wilhelm-Kabus-Str.46
D-10829 Berlin
Web: www.schi mann-music.com
Email: info@schi mann-music.com
The manufacturer Schi mann electronic musical instruments is constantly
striving for im rovements and develo ments of their roducts. Therefore, we
reserve the right to change technical s ecifications which im rove our
roducts at any time without notice. This includes the look of the unit which
might differ from ictures in this manual.
No art of this ublication is to be re roduced, transmitted, transcribed or
translated in any form or by any means whatsoever without written
ermission by
Schi mann electronic musical instruments .
 2013, Schi mann electronic musical instruments, errors exce ted, subject
to change without rior notice.

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PREFACE
First of all, congratulations on the urchase of this 3U euro rack synthesizer
module. This manual contains a condensed descri tion of the functionality
and addresses users with a certain level of elementary technical knowledge.
The PHS-28 is a very versatile and fully analogue voltage controlled 2 channel
haser ( haseshifter) with 8 stages er channel. The channels are cascadable
to a true 16 stage haser with a feedback loo over all 16 stages by one
switching click. Very dee and im ressive hasing effects are ossible with
that. The stage for the feedback as well as for the out ut stage are selectable
fully inde endently. We think that the PHS-28 convinces with an unbelievable,
warm forceful sound - it would have bitten almost our head off! The module is
designed with a width of 19 PU ( art units, 1 PU=5.08mm) for installation into
a 3 HU (height units) modular rack with a built in ±12 V ower su ly.
Furthermore the module is equi ed with lots of CV (Control Voltage) in uts
for hase frequency (FREQ), resonance (RESO) and em hasize (EMPH),
se arately for each channel that true and inde endent dual audio o erating is
ossible.
Design and im lementation meet highest technical standards concerning
usability, sound quality, and electromagnetic immunity. The entire design and
roduction work was done in Germany.
Made in Germany

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1. WARRANT .........................................................................................................................4 
1.1 Limited Warranty ....................................................................................................4 
1.2 Terms of Warranty ..................................................................................................4 
1.3 Warranty transferability ......................................................................................4 
1.4 Claim for damages ..................................................................................................4 
2. CE AND FCC COMPLIANCE STATEMENTS ...............................................................5 
3. DISPOSAL ............................................................................................................................5 
4. SAFET INSTRUCTIONS .................................................................................................5 
5. MAINTAINANCE/ CLEANING ........................................................................................6 
6. GETTING STARTET............................................................................................................7 
6.1 Unpacking ..................................................................................................................7 
6.2 Installation .................................................................................................................7 
7. CONTROLS ...........................................................................................................................8 
7.1 Front panel .................................................................................................................8 
7.2 Back ............................................................................................................................ 10 
7.3 Initial operation .................................................................................................... 11 
7.4 Calibration .............................................................................................................. 11 
8. MODULE DESCRIPTION ............................................................................................... 12 
8.1. Layout and functions......................................................................................... 12 
9.1 Specifications (generally) ................................................................................. 22 
9.2 Ratings ...................................................................................................................... 22 

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1. WARRANT
1.1 Limited Warranty
Schi mann electronic musical instruments warrants the mechanical and
electronic com onents of this roduct for a eriod of two (2) years from the
original date of urchase, according to the warranty regulations described
below. If the roduct exhibits any faults within the s ecified warranty eriod
that are not excluded from this warranty,
Schi mann electronic musical
instruments shall, at its discretion, either re lace or re air the roduct. This
warranty exists in addition to the general terms of business of the
manufacturer Schi mann electronic musical instruments .
1.2 Terms of Warranty
Schi mann electronic musical instruments reserves the right to execute
warranty services only if the roduct comes with a co y of the dealer’s original
invoice. Final discretion of warranty coverage lies solely with
Schi mann
electronic musical instruments . Any Schi mann electronic musical
instruments roduct deemed eligible for re air or re lacement under the
terms of this warranty will be re aired or re laced within 30 days after
receiving the roduct at Schi mann electronic musical instruments .
Damages or defects caused by im ro er handling or o ening of the unit by
unauthorized ersonnel (user included) are not covered by this warranty.
Products which do not meet the terms of this warranty will be re aired
exclusively at the buyer´s ex ense and returned C.O.D. with an invoice for
labour, materials, return shi ing, and insurance. Products re aired under
warranty will be returned with shi ing re aid by
Schi mann electronic
musical instruments
. Outside Germany, products will be returned at the
buyer´s expense.
1.3 Warranty transferability
This warranty is extended to the original urchaser and cannot be transferred.
No other erson (retail dealer, etc) shall be entitled to give any warranty
romise on behalf of
Schi mann electronic musical instruments .
1.4 Claim for damages

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Schi mann electronic musical instruments does not acce t claims for
damages of any kind, es ecially consequential loss or damage, direct or
indirect of any kind however caused. Liability is limited to the value of this
roduct. The general terms of business drawn u by Schi mann electronic
musical instruments a ly at all times.
2. CE AND FCC COMPLIANCE STATEMENTS
This device has been tested and deemed to com ly with the DIN EN 60065
standards.
This device has been tested and deemed to com ly with the requirements,
listed in FCC Regulations, art 15. The device com lies with EN 55103-1 and
EN 55103-2 standards.
Because of the entirely analogue construction, this device does not generate
radio frequencies and will not interfere with radio frequencies generated by
other electronic devices.
3. DISPOSAL
This device has been manufactured to RoHS-standards, in com liance with the
requirements of the Euro ean arliament and council and is thus free of lead,
mercury, and cadmium.
!! Notice: This product is still special waste and is not to be disposed of
through regular household waste !!
For disposal, please contact your local dealer or Schippmann electronic
musical instruments
4. SAFET INSTRUCTIONS
BEFORE USING THIS PRODUCT FOR THE FIRST TIME, PLEASE READ THE
ENTIRE USER MANUAL THOROUGHL .

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•PLEASE AVOID SHARP BENDING OF ANY CORDS AND CABLES.
•CORDS SHOULD NOT BE INSTALLED WITHIN THE REACH OF CHILDREN
OR PETS.
•DO NOT TREAD THE ENCLOSURE OF THE PRODUCT, DO NOT PLACE
HEAVY OBJECTS ON IT.
•BEFORE REMOVING THE PRODUCT FROM THE RACK, PLEASE
DISCONNECT THE POWER PLUG AND ALL OTHER CABLE
CONNECTIONS.
•PLEASE DISCONNECT THE POWER PLUG FROM THE OUTLET IN CASE OF
A THUNDERSTORM.
•NEVER OPEN THE ENCLOSURE OF THE PRODUCT! NEVER TRY TO
MODIFY THE INTERNAL CIRCUITRY! ONLY QUALIFIED SERVICE
PERSONNEL IS ALLOWED TO OPEN THE ENCLOSURE.
•DO NOT PLACE OPEN FIRE ON TOP OF THE PRODUCT (CANDLES, ASH
TRAYS, HOT THAI CURRIES ETC).
•NEVER EXPOSE THE PRODUCT TO WATER, BEER, OR MOISTURE.
•ADULTS ARE TO MAKE SURE THAT CHILDREN FOLLOW ALL SAFETY
INSTRUCTIONS. SAME THING GOES FOR PETS.
•AVOID MECHANICAL STRESS OR IMPACT. DO NOT DROP THE PRODUCT;
EVEN IF THERE IS A CONTROL LABELLED "DROP"!.
•DO NOT USE THE PRODUCT WITH TOO MANY OTHER ELECTRONIC
DEVICES RUNNING FROM ONE SINGLE OUTLET, ESPECIALLY IN
CONNECTION WITH EXTENSION CORDS. DO NOT ATTEMPT TO SAVE
MONEY ON CHEAP SOLUTIONS. BUY PROPER HIGH-DUTY POWER
DISTRIBUTORS AND CORDS!
•NEVER USE EXTENSION CORDS WITH LESS MAXIMUM LOAD THAN THE
TOTAL POWER CONSUMPTION OF ALL DEVICES CONNECTED TO A
SINGLE POWER OUTLET COMBINED. OVERLOADING EXTENSION CORDS
CAN CAUSE FIRE.
•AVOID MECHANICAL STRESS ON SOCKETS AND KNOBS SWITCHES.
•PROTECT YOUR SPEAKERS AND EARS (!) AGAINST EXCESSIVE AUDIO
LEVELS. THE CS-8 PHS-28 UNIT IS CAPABLE OF GENERATING
EXTREMELY LOW AS WELL AS EXTREMELY HIGH FREQUENCIES. BOTH
MIGHT CAUSE SERIOUS DAMAGE TO AUDIO EQUIPMENT AND EAR-
DRUMS!
5. MAINTAINANCE/ CLEANING

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•BEFORE CLEANING THE PRODUCT, PLEASE DISCONNECT THE POWER
PLUG FROM THE OUTLET OR DISCONNECT THE MODULE FROM ITS
POWER CONNECTOR BY PULLING THE FLAT RIBBON CABLE.
•USE A DRY OR SLIGHTLY MOIST CLOTH OR COMPRESSED AIR FOR
CLEANING. NEVER USE ANY CLEANER OR THINNER (E.G. PAINT THINNER
OR ACETON). PRINTS AND PAINTWORK WILL IMEDIATELY BE
DESTROYED!! ALSO AVOID ALCOHOL (ISOPROPYLIC), GAS, SPIRITS
(SCOTCH SINGLE MALTS, FOR A START) OR ABRASIVE HOUSEHOLD
CLEANERS!
6. GETTING STARTET
6.1 Unpacking
The box should contain the following items:
- 1 x CS-8 PHS-28 3HU rack-mount module
- 1 x Ribbon cable (20 cm length with two 16 ole IDC-connectors)
- 4 x M3 screws
- 4 x oly ro ylene washers
- This owners’ manual
If the content of the box turns out to be incom lete, lease get in touch with
your dealer or
Schi mann electronic musical instruments immediately. In
case of damage caused in transit, lease get back to the res onsible carrier
and
Schi mann electronic musical instruments immediately. We will su ort
you in this case.
6.2 Installation
Place the unit on a clean, dry and sturdy surface, or use a suitable keyboard
stand or 19” rack. For 19” rack mounting, a suitable rack (3U Eurorack with +/-
12V ower su ly rails) is required. The CS-8 PHS-28 uses discrete all-analogue
electronics. Thus certain arameters, such as Frequency, Resonance and
Emphasize, may be tem erature-sensitive. We recommend lacing the CS-08
PHS-28 away from heat sources such as radiators, lam s or other units that
roduce heat (e.g. ower am s or internal ower su lies).

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7. CONTROLS
7.1 Front panel
Fig. 1 shows the front anel with consecutively numbered controls and jacks.
Fig. 1 front

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1. Input A control – attenuates the incoming audio signal at In ut A jack
(channel A) between -∞ dB and 0 dB
2. Input B control – attenuates the incoming audio signal at In ut B jack
(channel B) between -∞ dB and 0 dB
3. Freq control – adjusts the hase frequency for both channels between1
Hz and 200 kHz
4. Det control – detunes the hase frequency of channel B over ±3.6
octaves (x12 res . ÷12)
5. Reso control – adjusts the resonance of the haser (Q-factor) between
zero (1) and self-oscillation (∞) for both channels
6. Emph control – adjusts the em hasis of resonance for both channels,
commonly
7. Mix A control – mixes the original signal at jack
In ut A with the hasers
effect of channel A ro ortionally together
8. Mix B control – mixes the original signal at jack In ut B with the hasers
effect of channel B ro ortionally together
9. Fb B 2 os. toggle switch – activates ("on") the feedback loo of channel B
10. FB-Stage 4- os. rotary switch – selects for both channels the stage for the
feedback loo s, commonly
11. Fb A / Mode 3 os. toggle switch – routes the channels A and B in three
different ways into arallel or serial modes
12. Out-Stage 4- os. rotary switch – selects for both channels commonly the
effect out ut stage at the
Mix A and Mix B controls and out ut jacks, res .
13. Input sel 2 os. toggle switch – selects for the Mix B -control one of the
original in uts A or B
14. Input A jack (in ut) – audio in ut channel A
15. Input B jack (in ut) – audio in ut channel B
16. +CV A jack (in ut) – non-inverting CV-in ut to control the hase
frequency of channel A
17. -CV A jack (in ut) –inverting CV-in ut to control the hase frequency of
channel A
18. +CV B jack (in ut) – non-inverting CV-in ut to control the hase
frequency of channel B
19. -CV B jack (in ut) –inverting CV-in ut to control the hase frequency of
channel B
20. Res A jack (in ut) –CV-in ut (±5V) to control the resonance of channel A
21. Res B jack (in ut) –CV-in ut (±5V) to control the resonance of channel B
22. Emph A jack (in ut) –CV-in ut (±5V) to control the em hasis of channel A

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23. Emph B jack (in ut) –CV-in ut (±5V) to control the em hasis of channel B
24. St-8 A jack (out ut) –audio out ut (-2.5 db) of the 8th stage of channel A
25. St-8 B jack (out ut) –audio out ut (-2.5 db) of the 8th stage of channel B
26. Mix A jack (out ut) – audio mix out ut (ctrl. 7) (-2.5 db) channel A
27. Mix B jack (out ut) – audio mix out ut (ctrl. 7) (-2.5 db) channel B
7.2 Back
Fig. 2 shows the back of the module with consecutively numbered elements.
Fig. 2 back / main PCB of the module

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1. inned phaser module – haser core channel A
2. inned phaser module – haser core channel B
3. Freq A trimmer P5 – calibration of the hase frequency channel A
4. Res A trimmer P7 – calibration of starting oint of self-oscillation channel
A
5. FTE A trimmer P1 – calibration of the Em h-modulation feedtrough of
channel A
6. FTR A trimmer P3 – calibration of the Reso-modulation feedtrough of
channel A
7. Freq B trimmer P6 – calibration of the hase frequency channel B
8. Res B trimmer P8 – calibration of starting oint of self-oscillation channel
B
9. FTE B trimmer P2 – calibration of the Em h-modulation feedtrough of
channel B
10. FTR B trimmer P4 – calibration of the Reso-modulation feedtrough of
channel B
11. 16 Pin power supply-box header
7.3 Initial operation
The ower connector’s (8) in-out in to view (refer to fig. 2) is assigned as
follows:
Bottom to to , left to right. Thus in 1 is located at bottom left, in 2 above in
1 etc. Pin 15 is at bottom right, in 16 at to right.
Pin 1, 2 = -12 V (labelled with a triangle)
Pin 3-8 = GND (regarding ground, 0 V), located outward on all jacks
Pin 9, 10 = +12 V
Pin 11-16 = not connected
To hook u ower to the module, connect one of the IDC-connector of the
included flat ribbon cable to the box header (refer to fig. 2). Observe guide key
for the olarity of the connector in order to avoid in reversal. The red tag of
the cable is to match the triangle-label.
7.4 Calibration
All trimmers are 12 gauge trimmers, i. e., 12 turns are needed to cover the
entire range. Trimmers P5, P7, P6 and P8 increase their arameters when

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turned clockwise. The feedthrough trimmers P1, P3, P2 und P4 are zero-
adjustment trimmers and should better be untouched!
8. MODULE DESCRIPTION
8.1. Layout and functions
Line A
Am
Σ
In ut A
In ut B
Stage
2
Stage
4
Stage
6
Stage
8
Stage
2
Stage
4
Stage
6
Stage
8
Σ
Fb Stage A
Fb Stage B
1 of 4
1 of 4
Out Stage B
Out Stage A
1 of 4
1 of 4
Mode=A->B
Fb B = on
Mode=A->B 16
Am
Mix B
Am
Am
Mix A Mix A
Mix B
St-8 A
St-8 B
In ut sel = B
Line B
Mode=A/B ar, A->B 2x8
Fig. 3 signal flow chart

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Fig. 3 shows the flow chart of all audio signals of PHS-28. All elements of
controls and their regarding jacks were omitted for better clarity. The
rinci les of their o eration will be ex lained as follows.
Input: The audio in uts are signed with
In ut A and In ut B , these are ure AC
in uts. The controller In ut A (1) and In ut B (2) are tied ca acitively
decou led to their in ut jacks of the same name. The controller attenuate the
incoming audio between 0 and 1.
Mix A, Mix B: The out uts Mix A and Mix B are audio out uts, they rovide,
de endently on the osition of the regarding controllers
Mix A (7) and Mix B
(8) , res . the balance between the original audio in ut In ut A and B , res . and
the regarding effect out ut of channel A and B, res .. The out ut level at these
jacks is reduced by -2.5 dB (75%). This avoids internal overloads in certain
routings and resonance settings.
St-8 A, St-8 B: The out uts St-8 A und St-8 B are audio out uts, they rovide
the clean effect signal of the regarding channel at their 8th stage. The out ut
level at these jacks is also reduced by -2.5 dB (75%) in the same way as above.
Freq: The influencing variables on this arameter will change the hase
frequency. That is the frequency where the hase shift is exactly the half of the
total ossible hase angle (see below). The controller
Freq (3) affects both
channels and rovides a range from 1 Hz to 200 kHz. This is necessary to
achieve with 16 stages in the feedback loo with the undermost notch
frequency 20 kHz or with the to most one 20 Hz, res ectively (see below). The
controller
Det (4) (detune) affects only the hase frequency of channel B and
achieves a detuning of ±3.6 octaves (x12 res . ÷12). The regarding control
in uts for the hase frequencies are the jacks CV A, -CV A for channel A and CV
B, -CV B for the channel B with a sensitivity of ±3 octaves/Volt or a scale of
±330 mV/Oct, res ectively.
A bit yummy theory: The following two ages shows 16 gra hs (Fig. 4). They
illustrate the am litude- and hase res onses of a haser chain at the stages 2,
4, 6, 8, 10, 12, 14 and 16.

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Fig. 4 am litude-/ hase res onse 2 - 16 Stages

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The shown am litude res onses are coming into being when mixing the
original signal with the hase shifted one fifty-fifty. The hase res onse shown
here, however, is the ure haser stage out ut, because it is more of interest
than the mixed result and gives more insight of the system ro erties.
To shift the current hase angle of a real-time signal is only ossible when the
signal becomes delayed. This will be done with units of energy storages the so
called stages. Each stage rovides a total hase shift of -180°. A lication-
oriented, however, only 360°-units are of interest. Such a unit will be obtained
by cascading 2 stages in serial. The in ut signal, tuned from the lowest to the
highest frequencies undergoes a full clockwise rotation (delay, negative
hase) of -360°. A su er osition of this hase shifted signal with its hase
constantly original signal results in a total effacement (notch) of the am litude
res onse as shown in the gra hs. This occurs because at one frequency an
angle of -180° or at multi les of it will be achieved, that the am litude
res onse is interacting in effacements at these frequencies. With each further
360° unit another notch-frequency will come u . So, as many notches will be
obtained as 360°-units or twice as much stages are cascaded. Exactly this is
shown in the gra hs. And one achieved this by dial-in with the regarding
rotary switch
Out Stage (12)
and by mixing of the original in ut with the effect out ut at the regarding
controllers
Mix A (7) and Mix B (8) , res ..
E.g., the to most two gra hs re resents the am litude- and hase res onse at
the second stage (one 360° unit) with exactly one notch at -180° hase shift,
here at 1 kHz. And this frequency can be shifted with the arameter
Freq . The
u coming notches by cascading further 360° units will be s read exactly
symmetrically above and below the center frequency and the distance
between the lowest and highest notch increases with every stage air (360°
unit). The undermost gra h at the 16th stage shows that the frequency of the
lowest notch is 10 times lower than the center frequency, whereas the highest
one is 10 times higher. The hase is shifted here at all by minus 2880° or 8·360°.
At least since now it becomes clear why such a large range of the arameter
Freq. (1 Hz - 200 kHz) is necessary when one wants to shift all notches in the
two directions to below and u from the audible audio range.

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Reso: The influencing variables on this arameter will change the self-
resonance of the haser chain, by feedback the audio signal at a selected stage
to the in ut (Fig. 3). With that selective gains at certain frequencies will occur,
namely exactly at that frequencies where the notches are (Fig. 4), so, at
-180°+N·(-360°). The stage for the feedback can be selected with the rotary
switch
Fb Stage (10)
inde endently of the
Out Stage . The rovided stages as well as for the out
stage are in multi les of 2 (360° units), so, 2, 4, 6, 8 and in A → B mode (serial
routing of channel A and B, see below) 10, 12, 14 and 16. Figure 5a shows from
to to down the am litude res onse at the 4th stage (50-50-mix) without
resonance, the am litude res onse at the 4th stage at high resonance fed
back at the 8th stage and at last the corres onding hase res onse at stage 4.
Previously, it was im lied the same center frequency for all 16 stages. But
because of the ability to control both channels A and B, se arately, even in the
serial modes the relationshi s of the notch frequencies can be further shifted,
e.g. by the
Det -controller or external CV. By detuning the channels and 2
feedback loo s at the same time and working in one of the two serial modes
2.) or 3.) (see below) at certain frequency settings congruence of resonance
frequencies (notches) will occur resulting in dramatically higher selectivity at
higher resonance values greater than zero. The ossibilities are almost endless.

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Fig. 5a am litude- and hase res onse without and with resonance
Figure 5b shows from to to down the am litude res onse at the 2. stage (50-
50 mix) without resonance, the am litude res onse at the 2. stage at high
resonance at the 12. stage and at last the corres onding hase res onse at the
2. stage.