CZ V

How it works

Phase distortion explained from scratch

A digital oscillator reads a table containing a wave (in the CZ, always a sine) advancing with a phase that grows steadily, like a clock hand turning at constant speed. Phase distortion (PD) deforms this hand: in certain stretches of the cycle the reading speeds up, in others it slows down. The sine read at variable speed changes shape: if the phase runs fast in the first half and slows in the second, the sine bends toward a sawtooth; other distortion curves produce square, pulse, etc.

DCW = the filter

The amount of phase distortion is the DCW (Digitally Controlled Wave). With DCW at zero a pure sine comes out, with no harmonics; as you raise it the wave approaches the chosen shape (saw, square, pulse…) and the harmonics grow. It is therefore a brightness control equivalent to a low-pass cutoff, and its envelope (8 stages) is the equivalent of the filter envelope.

Resonant waves

Three waves (Reso1 sawtooth, Reso2 triangle, Reso3 trapezoid) multiply a higher-frequency sine by a window: the result has an energy peak that moves along the spectrum as you move the DCW, imitating the cutoff of a resonant filter.

Composite waves

Each Line can alternate two different shapes cycle after cycle (for example saw in the first cycle, pulse in the second): the overall period doubles, so the pitch drops an octave and is enriched with subharmonics.

DCA and structure

After the DCW comes the DCA, the amplifier with its own 8-stage envelope. Each voice can use one or two Lines (complete DCO→DCW→DCA chains): two Lines can be detuned, ring-modulated against each other or modulated with noise. The principle is therefore subtractive to the ear, digital in the engine: harmonic richness is created by deforming the waveform instead of filtering it.

Character and tone

A digital timbre but closer to a filtered analog than you'd expect: the DCW opens and closes the harmonics like a cutoff, with a slightly harder, glassier and more nasal sound than an analog low-pass. The resonant waves (Reso1–3) imitate a filter with resonance but without true self-oscillation: the peak moves cleanly, with a typical metallic color. Present upper mids (1–5 kHz), defined, dry lows that take up little room, perfect for house and electro. The DAC of the era adds noise and a much-loved lo-fi grain. Limitations: no real filter, pads less warm and less wide than analog polysynths (Jup-8 V, Jun-6 V), a tendency to sound thin unless you use two Lines and detune. Compared with DX7 V it is much easier to program (you think as in subtractive) but less capable of complex inharmonic timbres; compared with SQ80 V it is cleaner and more synth than sampler.

Architecture

Original Casio CZ (1984–1988)

• Series: CZ-101 (1984, mini 49-key keyboard, battery powered), CZ-1000 (full-size keys), CZ-3000 and CZ-5000 (16 oscillators, sequencer on the 5000), CZ-1 (velocity and aftertouch), plus the CZ-230S and other budget models.
• CZ-101: 8 digital oscillators = 8 voices with one Line, 4 voices with two Lines; monotimbral, multitimbral only via MIDI (mono mode).
• For each Line: DCO with 8 waveforms (Sawtooth, Square, Pulse, Double Sine, Saw-Pulse, Reso1 saw, Reso2 triangle, Reso3 trapezoid) and a combination of two alternating waveforms; DCW with 8-stage envelope (rate and level, assignable sustain and end points) and key follow; DCA with 8-stage envelope and key follow; 8-stage pitch envelope (DCO).
• Line Select: 1, 2, 1+1' (second Line is a detuned copy of the first), 1+2'; detune of the second Line in octaves, semitones and fine; Ring modulation and Noise modulation between the Lines.
• One vibrato LFO (triangle, square, up and down ramp) with delay, rate, depth; portamento; no filter, no effects; mono output with a DAC of noisy character.

What CZ V (Arturia, 2019) adds

• 32 voices of polyphony even with two Lines active; unison up to 8 voices with Unison Detune and stereo spread.
• Pan for each Line and separate level; resonant waves that can be combined with each other (impossible on the original) and a drawable Custom wave.
• Three envelope types for each of the 8 envelopes (Pitch, DCW, Amp for each Line plus Mod 1 and Mod 2): original 8-point CZ, DADSR, 16-point MSEG with slope, loop and sync; Velocity (0–15), Kbd Follow (0–9), bipolar Depth and Rate Multiplier.
• Independent noise source with Color.
• 16-slot modulation matrix, 24 sources and 51 destinations; 2 LFOs (up to 200 Hz, binary sync, triplets and dotted, mono/poly, key trig with number of cycles), Sample & Hold with smooth, 3 Combos (sum, difference, multiplication, division, crossfade between two sources), 4 macros.
• Arpeggiator (6 modes, 1–4 octaves, gate) and dedicated vibrato with Sine, Triangle, Square, Saw Down, Saw Up, S&H shapes.
• Four effect slots in series or in two parallel chains (one per Line): Reverb, Delay, Chorus, Phaser, Flanger, Multimode Filter (LP/HP/BP 12/24/36 dB, comb), Overdrive, Compressor, Bitcrusher.
• Switchable emulation of the original DAC; import of CZ SysEx.

The controls, one by one

Top bar

Master Tune

Global tuning ±100 cents (one semitone); at center A440.

Octave

Shifts the whole instrument by ±2 octaves; also useful to compensate for the octave lost with composite waves.

Unison Detune

Detunes and widens the unison copies in stereo (requires Unison 2–8 in the bottom bar). Low = thickness and light flanging, high = pronounced chorus and width.

Waveform and envelope illustration

Graphic reproduction of the CZ-101's panel: it is not a control.

Advanced (arrows)

Shows or hides the four tabs Synthesis, Envelopes, Modulations, FX.

Keyboard area — Performance controls

Master Volume

From −80 to +24 dB, default 0 dB, responds to CC 7.

Pitch Bend

Bends the pitch of both Lines; range set by Bend Range. It is also a modulation source.

Mod Wheel

CC 1, no assignment by default: it must be connected in the matrix (e.g. to Vibrato Depth or to the DCW).

Macro 1–4

Renamable faders assignable to multiple destinations in the matrix; ideal for a MIDI controller.

Wave scope

Shows the waveforms of the two Lines in real time with numeric fields for DCW and Level.

Keyboard area — Vibrato

Wave

Vibrato shape: Sine, Triangle, Square, Saw Down, Saw Up, S&H.

Rate

Vibrato speed (5–6 Hz for natural vibrato).

Sync

Syncs to tempo from 8:1 to 1/32.

Depth

Vibrato depth; 0 = off.

Delay

Onset delay from 0 to about 5 s with proportional fade-in; 300–600 ms for singing leads.

Keyboard area — Arpeggiator

On / Hold

Turns on the arpeggiator; Hold keeps the pattern after release.

Rate and Sync

Free 0.1–50 Hz or synced from 1/2 to 1/64.

Pattern (Mode)

As Played, Up, Down, Up-down 1 (extremes repeated), Up-down 2 (extremes once), Random.

Octave

Range of 1–4 octaves.

Gate

Length of each note: staccato to the left, legato to the right.

Keyboard area — Line Select, Ring, Noise, Portamento, Poly

Line Select

Line 1, Line 2, 1+2' (two independent Lines, the second detunable) or 1+1' (detunable copy of Line 1 with the same waves and envelopes).

Ring

Enables ring modulation between the Lines (only with two Lines active).

Noise

Enables noise modulation of the second Line (only with two Lines active).

Portamento

Glide time: in mono it always glides, in poly only when legato; with the arpeggiator it always glides if > 0.

Poly

On: up to 32 notes. Off: legato monophonic without envelope retrigger (for 303-style leads and basses). For mono with retrigger, leave Poly on and polyphony at 1.

Bottom bar

CZ DAC

Emulation of the original converter with its noise and grain: on for authenticity, off for a cleaner sound.

Bend Range

Pitch bend semitones (2 standard, 12 for basses and leads).

Unison

1–8 stacked copies per note; reduces maximum polyphony (2 = 16 voices, 8 = 4 voices).

Poly (polyphony)

Voice limit 1–32, saved in the preset; it doesn't go back to the previous value on its own if you reduce unison.

MIDI Ch

All (omni) or 1–16.

Panic, CPU, Maximize View

All notes off, CPU load meter, quick window enlargement.

Synthesis tab — Line 1 and Line 2

Power Line

Turns the individual Line on or off; Duplicate on Line 1 enters 1+1' mode.

Waveform (two boxes)

Sawtooth, Square, Pulse, DblSine (an octave higher), SawPulse, Reso1 (resonant saw), Reso2 (resonant triangle), Reso3 (resonant trapezoid), Custom (drawable). The shape is the destination reached with DCW at maximum.

Link

On = simple wave (same shape in both halves). Off = composite wave, alternates two shapes every cycle: pitch an octave lower and a more complex timbre. The order of the two shapes doesn't matter.

DCW

Static amount of phase distortion = brightness. 0% = pure sine; 100% = full shape. With the Resos it moves the resonant peak. It adds to the DCW envelope (which cannot exceed the maximum).

Level

Level of the Line in the mix. In ring mod, Line 1 sets the base tone, the second the modulated signal.

Pan

Stereo position of the Line: two Lines slightly apart (±20–30%) give width.

Pitch / DCW / AMP (mini-editor)

Show the Line's envelopes with draggable points and a ruler for zoom; the full parameters and the envelope type are chosen in the Envelopes tab.

Copy (arrows between the Lines)

Copies the displayed envelope from one Line to the other (even between different types, e.g. from DCW to Amp).

Synthesis tab — Center: Detune, Modulation, Noise Source

Detune Oct

Transposition of the second Line from −3 to +3 octaves (only in 1+2' or 1+1').

Detune Note

±11 semitones: 7 = a fifth up, 5 = a fourth; useful for power chords and musical ring mod.

Detune Fine

±60 cents: 3–8 cents give beating and chorus-style body.

Ring + Amt

Ring modulation of the second Line by Line 1 (0–100%). With Note at 0 it is subtle; with 5 or 7 semitones it stays musical; with 1 semitone or high Fine it becomes inharmonic and noisy. With Amt 0% the second Line goes silent.

Noise + Amt

Modulates the second Line with noise: pitched breaths, percussion hits, wind. It follows Line 2's Pitch and Amp envelopes.

Noise Source Level

Independent noise added to the active Lines; it follows only the Amp envelopes.

Noise Source Color

Noise color: 0% low rumble, 50% wideband pink noise, high = high-pitched hiss.

Envelopes tab

Envelope list

Eight envelopes: Line 1 Pitch, DCW, Amp; Line 2 Pitch, DCW, Amp; Mod 1; Mod 2. Hover to see the others of the same type in transparency.

Envelope Mode

CZ (up to 8 points with rate and level, assignable sustain and end points), DADSR, MSEG (16 points with slope, loop, sync, bipolar for Pitch/Mod).

Velocity

0–15: makes the envelope sensitive to dynamics (on DCW = brighter when you play hard; on Amp = louder).

Kbd Follow

0–9. On the Amp it shortens the envelopes on high notes; on the DCW it reduces brightness in the highs (less shrill highs).

Rate Multiplier

Slows down or speeds up the whole envelope 0.1×–10× (in sync: from 1/32 to 8/1).

Depth

On Pitch, DCW and Mod: multiplier from −100 to +100. Negative inverts (pitch that falls, DCW that closes).

Amp Level

On the Amp envelopes it replaces Depth: output level of the Line 0–100%.

Point, Rate, Level, Sustain, End (CZ)

In CZ mode the time depends on rate and level jump together: a small jump with the same rate takes less time.

Copy/Paste

Copies an envelope to one or more others (Ctrl/Cmd for multiple selection).

Modulations tab — Matrix

Matrix 1–8 and 9–16

Sixteen routings; each slot has up to 8 sources or 8 destinations, positive or negative amount (Ctrl for fine adjustment, double-click to reset). 24 sources (wheel, velocity, aftertouch, LFO, S&H, Combos, envelopes, macros, key follow…) and 51 destinations (DCW, level, pan, pitch of the Lines, vibrato, envelope parameters, effects…).

Modulations tab — Combos / LFO / S&H

LFO 1 and 2 — Wave

Classic shapes plus S&H (random steps).

LFO — Rate and Rate Type

0.01–200 Hz (up to audio range: rough modulations) or Sync Binary, Sync Triplets, Sync Dotted from 1/32 to 8/1.

LFO — Delay

Fade-in from 0.001 to 20 s (active with Key Trig).

LFO — Mono/Poly

Poly: independent LFO per note; Mono: a single shared LFO (unison movements, e.g. wah on chords).

LFO — Key Trig and cycles

Restarts the phase on every note; the numeric field sets how many cycles to run (1–8 or infinite): with 1 cycle the LFO becomes an envelope.

S&H — Source

Sampled signal: Line 1/2, LFO, envelopes, Combos or noise.

S&H — Rate Type, Rate

0.01–40 Hz or synced.

S&H — Key Trig

A single sample per note (different random value for each note).

S&H — Smooth

Rounds off the steps: from sharp stairs to smooth random curves.

Combos 1–3

Source, Mod, Type (Sum, Diff, Multiply, Divide, Crossfade) and Amt: they combine two sources into a new form of modulation.

Modulations tab — Envelopes

Mod 1 / Mod 2 and type

Quick access to the two modulation envelopes with type selection.

Poly

Off: each new note retriggers the envelope for all notes. On: each note has its own envelope.

FX tab

Series / Parallel

Four slots in series or two parallel chains (Line 1 and Line 2 separate, with dedicated volumes); on/off and effect choice per slot.

Reverb

Predelay 0–200 ms, Decay, Input LP 100 Hz–20 kHz, Input HP 30 Hz–10 kHz, Size, Damping, Width, Dry/Wet.

Delay

Time 2–2000 ms or sync (binary, triplets, dotted), Feedback, HP and LP on the repeats, Spread/Width, Stereo or Ping-Pong, Dry/Wet.

Chorus

Voices 1–3, Delay 0.6–20 ms, Depth, Shape sine/square, Frequency, Feedback, Stereo, Dry/Wet: imitates unison without using up voices.

Phaser

Rate Type, LFO Wave (six shapes), Frequency, Feedback, LFO Rate, LFO Amount, Poles 2–12, Stereo, Dry/Wet.

Flanger

Stereo, LP 1–20 kHz, HP 30–800 Hz, Shape, Polarity, Feedback up to 99%, Delay, Depth, Frequency 0.005–10 Hz or sync, Dry/Wet.

Multimode Filter

LP, HP, BP (12/24/36 dB/oct), Comb FB and Comb FF; Frequency, Resonance, Wet/Dry (100% to use it as a true filter).

Overdrive

Drive, Tone, Level, Dry/Wet: solid-state saturation.

Compressor

Attack 0.01–1000 ms, Release 1–2000 ms, Threshold −60/+20 dB, Ratio, Output Gain, Makeup, Dry/Wet.

Bitcrusher

Bit Depth 1.5–16 bit, Downsample 1×–80×, Dry/Wet.

Sound design tips

Think of the DCW as a cutoff, but nonlinear

• The DCW envelope is your filter envelope: attack 0, short decay and low sustain give plucks and basses; a long decay and medium sustain give leads and pads. Set the static DCW low (0–20%) and let the envelope do the work: if the static DCW is already at 100% the envelope has no room left.
• The DCW opens the harmonics more abruptly than an analog filter: for smooth transitions use curved slopes in the MSEG envelopes or slow rates in the final stages.
• Reso1–3 are the CZ's resonant filter: move the DCW to shift the peak; a DCW envelope with a 150–300 ms decay produces the classic acid wow. The peak tends to sound thin: add the second Line with a sine or a closed saw an octave below for body.

Two Lines = two oscillators

• 1+1' with Fine 4–8 cents is the quickest way to thicken; 1+2' with different waveforms (e.g. Line 1 saw for body, Line 2 Reso for the peak) gives richer timbres.
• Composite waves drop an octave: compensate with Octave, otherwise the bass ends up below 40 Hz and gets lost.
• Ring modulation with Note at 7 or 12 stays in tune; with odd values or high Fine it becomes metallic: great for bells and percussion, terrible for basses.

Frequency management

• CZ basses have sharp harmonics between 800 Hz and 3 kHz: keep the DCW below 50–60% on low notes and use Kbd Follow DCW 2–4 to balance the register.
• The emulated DAC adds background noise: on sustained tracks or long pads turn it off or use a gate/expander, especially if you stack many tracks.
• For warmer pads, put the Multimode Filter LP 12 dB at 4–6 kHz and a chorus at the end of the chain: it smooths the digital harshness.

Velocity and dynamics

• Velocity on the DCW envelope (8–12) rather than on the Amp: when you play hard the sound opens up, like a filter with envelope amount tied to velocity.
• Remember that velocity is not assigned to volume by default: add Velocity → Line Level in the matrix if you need volume dynamics.

Glide and mono

• For acid lines: Poly off (legato, no retrigger), portamento 40–80 ms and accents with velocity on the DCW.

Common mistakes

• Leaving a short Amp envelope while drawing movement in the DCW after the sustain: the change isn't heard because the Amp is already closed.
• Unison 8 without rechecking the polyphony: it stays at 4 voices even when you go back to 1.
• Ring or Noise active with a single Line: they do nothing, check Line Select.
• A pitch envelope that only rises: for a pitch that falls at the attack use a negative Depth.

Presets to recreate

In genres and records

• 80s synthpop and new wave: Vince Clarke is among the documented users of the CZ-101 and CZ-1000; cheap but characteristic digital basses, leads and pads.
• Electronic, IDM and big beat: Moby, Cirrus, Jimmy Edgar, Jimi Tenor and Eat Static among the users.
• Indie pop: They Might Be Giants.
• Chicago house and deep house: digital basses and organs for stabs, in the late-80s color.
• Acid house and techno: resonant basses with the Reso1–3 waves and the DCW in place of a filter.
• Electro and Miami bass: short basses and simple leads.
• Ambient house and downtempo: glassy pads and ring mod bells.
• Hip hop and boom bap: simple, warm basses and leads.
• Synthwave, vaporwave and lo-fi: the grain of the original DAC.
• Chiptune and video game music; minimal synth and cold wave; italo disco; UK garage and speed garage (organ-style basses).