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Casio CZ-1000 Phase Distortion Synthesizer Keyboard

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    The CZ-1000 was the second fully programmable phase distortion synthesizer that Casio introduced. This synthesizer, introduced in 1985, was identical to the CZ-101 in function, but used full size keys and more attractive membrane buttons. It was also somewhat larger than the CZ-101. Like the CZ-101, this synthesizer had 49 keys. Also non-resonant waveforms 1~5 can cascade with other waveforms, and as a result, 33 waveforms (basic:8, cascade:25) are available.

    However, the CZ line used phase distortion to somewhat simulate an analog filter, it had in total eight different waveforms: as well as the standard sawtooth, square, and pulse waveforms, it had a special double sine waveform, a half-sine waveform, and three waveforms with simulated filter resonance: resonant sawtooth, triangle, and trapezoidal waveforms. The simulated filter resonance was not considered to sound much like real filter resonance, being a simple waveform at the filter cutoff value instead of a real filter resonating.

    Each digital oscillator could have one or two waveforms. Unlike other synthesizers, where having multiple waveforms caused those multiple waveforms to be mixed together (parallel), the CZ synthesizers would play one waveform and then play the other, and so on in alternation (series).[2] This could cause the appearance of a sub-harmonic one octave below the nominal pitch of the sound, due to the period of the combined waveform taking twice as long as a single waveform would. It was possible to combine two non-resonant waveforms together, and to combine a resonant waveform with a non-resonant waveform, but it was not possible to combine two resonant waveforms.

    Digital Controlled Oscillator (DCO)

    The CZ-101 and CZ-1000 had only eight digital oscillators. For patches using one oscillator per voice, this allowed 8-note polyphony, but if two oscillators per voice were used, this restricted polyphony to four voices. The CZ-3000, CZ-5000, and CZ-1 had sixteen digital oscillators, making them sixteen- or eight-voice synthesizers. Each of the oscillators in a two-oscillator patch could be independently programmed.

    Digital Controlled Waveform (DCW)

    The DCW of an oscillator is the magnitude of distortion that is applied to the reading angle of that oscillator's selected waveform. The DCW can be modified over time using an ADSR envelope, thus changing the timbre of the sound over time. In this capacity, it was described by Casio in the CZ-1's manual as being phase distortion synthesis's equivalent of the VCF (voltage-controlled filter) in analogue synthesizers.

    Digital Controlled Amplitude (DCA)

    The DCA (which determined how loud a given oscillator was at a given moment) was also modulated by another dedicated 8-stage envelope generator. The DCW and DCA also had a "key follow" feature; which determined how much higher notes affected a sound, making the DCW have a more dull sound with less harmonics with higher notes, and making the DCA envelope faster for higher notes.

    8-step Envelope Generators (EG)

    The envelope generators in the CZ synthesizers were far more flexible than a traditional four-stage ADSR envelope; they were eight stage envelope generators where each stage had a rate and level value. The rate value determined how fast the envelope would move; the level value would determine what pitch/filter cutoff/volume the envelope would have. There was a single sustain stage, and an end stage.

    LFO wave-forms

    The synthesizers have a single configurable LFO for inducing vibrato, whose settings apply to all notes played in a given patch, although each note has its own independently triggered/cycling LFO (polyphonic LFOs). The LFO can use triangle, square, upwards (ramp) saw-tooth, or downwards saw-tooth wave-forms. The modulator effects of the LFO are controlled by three settings: speed, depth, and delay.

    The pitch of a voice can also be modulated by a dedicated eight-stage envelope, although this can only increase the pitch of a sound, rather than being bidirectional.

    Ring and Noise modulators

    It was possible to modulate the two voices in a two-voice patch in two different ways. Ring modulation had the output of one of the oscillators affect the volume of the other oscillator, resulting in a controlled distortion. Noise modulation caused the second voice in a two-voice patch to sound like digital noise, roughly simulating the effect of an analog synthesizer's noise source.

    Casio CZ-1 mode panel

    The CZ synthesizers also had the ability to stack up two different sounds via the "tone mix" feature resulting in a functionally monophonic synthesizer; this was Casio's version of the "unison" feature other polyphonic synthesizers had. Each part in a two-patch stack could be a different patch, allowing great flexibility in stacked sounds. It was not possible to detune the two patches in a tone mix stack; this could be somewhat worked around, however, by giving each of the two patches a different vibrato rate.
    Type: Digital
    Synthesis: Phase Distorion
    Oscillators: 2
    Waveforms: Saw Up, Sine, Square, White Noise
    Osc Modulation: Envelope, Fader, Glide / Portamento, LFO, Mod Wheel, Pitch Wheel, Velocity
    Oscillator Notes:
    + 8 basic waveforms: saw, square, pulse, double sine, saw-pulse, resonance saw, resonance, square, resonance, trapezoidal.
    + 25 combo waveforms: non-resonant waveforms 1~5 can cascade resonant waveforms.
    + Noise.
    Envelopes: 3
    Evelope Paramerters: 8-step Casio
    Envelope Notes::
    pitch, amplitude and filter.
    Filters: 2
    Types: Phase Warp
    Filter Modulation: Envelope, Keyboard, LFO
    Filter Notes:
    Simulated Phase Distortion
    LFO: 1
    LFO Parameters: Saw Up, Saw Down, Sine, Triangle, Delay
    Polyphony & Tuning
    Polyphony: 8
    Timbrality: 2
    Tuning: Standard
    Patches RAM: 16
    Patches ROM: 16
    Multipatches RAM: 16
    Storage: Internal, RAM Cartridge
    Editing: MIDI
    Ring Modulator
    Case: Keyboard
    Case Details: 49 Full-Sized Keys
    Keyboard: 61 keys
    Controls: Aftertouch, Velocity, Buttons, Faders, Mod - Wheel, Pitch -Wheel
    Display Type: LCD, LED
    Display Count H: 12
    Display Count V: 1
    Weight: 11 lbs / 5 kg
    Audio Output Connections: 1/4" Phone Jack, Mono Out, Stereo Headphone
    Audio Output Count: 3
    MIDI Ports: IN, OUT, THRU
    Power: AD-5UL 9V DC 650mA Negitive Tip / 6 D Batteries
    Year Released: 1985
    Year Discontinued: 1988
    Used By
    Vince Clarke, Clarence Jey, They Might Be Giants, Jean Michel Jarre, Seventh Celestia, the Orb, Moby, Jay Metarri, Cirrus, Jimi Tenor and Jimmy Edgar.
    Design Notes:

    The CZ series were a family of low-cost Phase distortion synthesizers produced by Casio mid-1980s. There were eight models of CZ synthesizers released: the CZ-101, CZ-230S, CZ-1000, CZ-2000S, CZ-2600S, CZ-3000, CZ-5000, and the CZ-1. Additionally the home-keyboard model CT-6500 used 48 phase-distortion presets from the CZ line. The CZ series were remarkably flexible synthesizers, and their price made programmable synthesizers affordable enough to be purchased by garage bands.

    Casio's Phase-Distortion synthesis technique was championed by Casio engineer Mark Fukuda and evolved from the Cosmo Synth System that was custom-developed for legendary synthesist-composer Isao Tomita. Yukihiro Takahashi was also on board during development, he then toured with a CZ-1 in 1986. To make the CZ synthesizers inexpensive, Casio used digital synthesis without a filter instead of traditional analog subtractive synthesis with a filter. Like many early digital synthesizers, its sound was regarded as "thinner" than the sound of an analog synthesizer.
    Manuals & Documents

    Product Links
    Company Product Sites:
    [+] en.wikipedia.org
    Editors & Software:
    [+] itunes.apple.com
    MSRP List Price: $700 - convert
    Retail Street Price: $600 - convert
    Used Price: $150 - $300 - convert
    YouTube Videos
    Related Synthesizers
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