I believe the word we used in English was "undefined." (I was the translator and co-writer of the manual.)
Schoeps' multi-pattern capsules (MK 5 and MK 6) vary their patterns by mechanical/acoustical means, not by varying the relative electrical output of two diaphragms. There are really two complementary principles of operation (omni = pressure, figure-8 = velocity) with the cardioid representing an equal mixture of the two. Unfortunately this mechanical approach doesn't lend itself to a "sliding scale" of patterns.
That can be achieved electronically, however, by putting up one omni and one figure-8 (coincident) per channel--then you can crossblend between the two of them for any first-order pattern you want. Back in the funky '50s, Schoeps used to sell a tube microphone called the M 201 which was switchable between omni and cardioid; it worked in just that way, with two capsules in its (in my opinion rather gorgeous-looking) capsule head. But as with the MK 5, the two patterns were set by a switch rather than by a continuous slider.
Continuously variable-pattern condenser microphones already existed by this time (Neumann M 49), but the demand for them was to have their patterns be remote controllable from the control room of a studio, where the pattern selector would be built into the mixing console. That and the later M 269, as well as the stereo SM 69 which was based on it, were all dual-diaphragm designs.
--best regards