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The envelopes Each of these sections has its own eight-segment envelope generator. Each segment of each envelope can be as short as one millisecond or as long as a minute, and the level in any segment can be either rising or falling within a given range.

A value of 99 is the fastest rate or highest level, a value of 0 is the slowest rate or lowest level. Using the first two segments gives you the classic ADSR type envelope, and after that it can be as complex as you like.

The envelopes are probably the most unique and powerful feature of the CZ. Unlike most synths up to there is a dedicated envelope generator for pitch, as well as the usual timbre and volume, so with the two lines there are six in total.

It is possible to use the pitch envelope to combine positive and negative de-tunings for example, or to add subtle analogue style drift to the oscillators.

There is one LFO, and this is for vibrato only. It would be nice to have one for each section, but the envelopes make up for this shortcoming in most situations.

The ultimate no compromise solution would be envelopes that looped, allowing extremely complex waveforms. There are four wave-shapes and the onset can be delayed.

The depth setting can be over ridden on those CZs that have a modulation wheel. On the CZ and , there is a switch instead of a wheel, so depth is fixed.

So much for what it sounds like- in actual fact, the resonant waves are generated by adjusting the tuning of two synchronised sine waves, with some additional processing to remove the noise that this generates.

You can select any wave on its own, or combine any two. The combination works by making a single cycle into two cycles, with waveform one making the first cycle and waveform two making the second.

Discounting duplicate combinations, there are 33 possible waveforms- again, a lot of flexibility. The filter kind of!

This works effectively like a filter, except that the only way to control it is via the envelope generator. There is no global cutoff setting, apart from whatever levels you choose in the envelope.

For the waveforms with broad spectra, such as the sawtooth or square, the sound of the wave-shaper is very close to that of an analogue lowpass filter.

For the waveforms with narrow spectra, like the so-called ringing resonant waveforms, the frequency of the ring increases as the wave-shaper opens, just like a resonant or bandpass filter.

The waveforms Casio chose are a very clever way of using minuscule DSP power to simulate different types of analogue filter. Moreover, none of the parameters interact, e.

This makes it a much more manageable system than FM- you can mess around and get good results in time, or you can apply some theory and get excellent results very quickly- very much like a good analogue synth.

Additional features Talking of quirks, the ring modulator is quite interesting. In fact, there are 3 different types of ring mod available if you use the Inside CZ SoundDiver profile from the Sealed website.

Nonetheless, the CZ is strong on all types of clangorous bell sounds. All these little design flaws add up to make a synth in which the whole is greater than the sum of its parts, just like any other classic instrument.

Portamento and chorus All the CZs feature polyphonic and monophonic portamento. This is an extra layer in the patch hierarchy, allowing storage of layers, splits and multitimbral performances.

The CZ, and CZ-1 featured a noisy built in chorus effect which only had a depth control. Even though they are up to 8 note polyphonic, the and are restricted to 4 notes in multimode, each part is monophonic, and chosen channels must be sequential.

A further limitation was the lack of separate outputs. The CZ-1 was a step up with two separate outputs, but retained the restriction of manual note assignment.

The notes were not dynamically shared across the parts- you had to decide how many notes each part needed from a maximum of eight.

But at least the CZ-1 is polyphonic in multimode! The Casio sequencer The CZ is the only instrument in the range featuring a sequencer. It is the equivalent of two Casio SZ-1 sequencers.

The step programming is certainly worthy of note. There are dedicated buttons for note durations and rests.

Phrases of different lengths can be programmed on each track, then looped. It can also record velocity from an external keyboard. Storage is to data cassette, which was slow but reliable.

Sys-Ex can be used if you have a computer based librarian capable of making the necessary dump request.

Used in combination with a more modern sequencer it can be quite a creative tool. Interestingly, the sequencer-less CZ goes for about the same money today as the CZ The same cartridge will hold 32 sounds on the and , but unfortunately these cannot be accessed directly.

The CZ-1 has 64 locations internally and in addition can access the 32 locations on the RA-3, but without the patch names, velocity or aftertouch data.

The rare RA-5 cartridge had 64 locations and is fully compatible with the CZ The CZs have a pretty good MIDI implementation for the time, and consequently are well supported by modern editor librarians.

Thankfully, CZ Librarian used the same file format, so even today I still have all my old sounds easily accessible. The presets are typical of those found on other Japanese poly-synths of the time- bright, bland but with one or two gems.

They are good basic starting points for most types of sound though. Which CZ is the best? The CZ series excels at bass sounds, so the four note polyphony is ample.

The CZs are also very good at organ and electric piano sounds. Particularly with the latter, the velocity sensitivity of the CZ-1 is a must.

The keyboard action is not great- the velocity and aftertouch are far more musical when you have a decent keyboard controlling it via MIDI.

Sampling CZ sounds tend to sample very well, so a would be a useful investment for someone who likes to make their own samples. Sounds with complex envelopes can occasionally be awkward, requiring more multi-samples.

Similarly, many patches use the second line for nothing more than a detuning to fatten the sound. Sampling just the one line and detuning on the sampler is much better.

Even sampling the basic single cycle oscillator waveforms provides some very useful raw timbres that provide plenty of scope for a sampler with a good synthesis engine.

These waveforms are harmonically rich, and the superior transposing on a modern sampler really lets this shine through. Speculation- the synth that could have been Casio decided to replace the hugely successful CZ series with the VZ series.

These featured a completely new synthesis engine called interactive phase distortion iPD. This method had the potential for more complex sounds, but combined with a very poor user interface were very frustrating synths to use.

Programming is very difficult even if you use a computer editor. Some interesting sounds are possible but programming is not a rewarding experience.

Unfortunately, it was not the selling point Casio hoped it would be. If Casio had just made the VZ the equivalent of two CZ-1s, and maybe included the waveform drawing from the FZ samplers, an expanded version of the sequencer from the CZ, a floppy disk drive and patch compatibility with the older CZs, they might have had another hit.

Roland and Yamaha have been around for so long because they have always carefully built on past successes. Unfortunately, Casio were just too radical with the VZ and as a result of its failure they left the pro synth arena.

Technical- the DAC Internally the CZ digitally generates a compressed waveform that is expanded in the analogue domain, a process known as compansion, which allows the 12 bit DAC to produce the theoretical equivalent of 14 bits.

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