By Lizard

*Casio CZ-101 (The More Common of the CZ Series)

Forward
Thanks for downloading the Thor CZ refill! This is the second of refills created
demonstrating Thor’s wonderful ability to emulate classic synthesizers. This one
focuses on the Casio CZ line that was produced between 1985 to 1988. Casio utilized
their own form of digital synthesis known as Phase Distortion (PD) synthesis. This was
very similar to Frequency Modulation (FM) synthesis found in the widely popular
Yamaha DX synthesizers. Casio did not find the huge interest in the market that
Yamaha did like the DX7 and that may be one of the large reasons it was limited to only
a few years of production. Casio, who has always been well known for their offerings of
portable keyboards even today, has not since entered another keyboard into the
professional synthesizer line. But the CZ had gained adoration by many for its unique
sounds and capabilities and had been used extensively by artists like Vince Clarke and
Moby. Today, we can relive the unique tones of phase distortion through Thor giving
even greater capability to the synthesizer with hybrid capabilities of other OSC types,
use of filters and control that was not provided at time of manufacturing. In this
document I’ll try to provide a little overview of how the original synth was constructed,
how we can faithfully recreate some of the sounds and perhaps how we take phase
distortion to another level beyond the CZ line. Of course, there is a lot of material that
can be covered. We will not be able to cover it all. With a firm understanding of the
original unit, we can start making tones very much in the spirit of the CZ line. Let’s give
it a shot!
CZ Architecture
Phase Distortion Synthesis

As earlier stated, the CZ series boasted a unique form of synthesis developed by Casio
called Phase Distortion Synthesis. PD synthesis, closely similar to FM synthesis, was
based on modulation of the phase angle of a waveform opposed to modulating the
frequency like FM. In this process, modulating the phase input of a sine wave could
yield a saw wave or even a square wave. PD synthesis used 8 different waveforms to
achieve results including Saw, Square, Pulse, Pulse and Sine, Half Sine and three
resonant waveforms (refer to Figure 1).

CZ Oscillator Waveforms

Figure 1

The audio signal was comprised of two paths (Line 1 and Line 2) each consisting of a
Digitally Controlled Oscillator (DCO), a Digitally Controlled Waveshaper (DCW) and a
Digitally Controlled Amplifier (DCA). The DCO, DCW and the DCA each had an eight
stage envelope. This was quite unique and was wildly different than the generally
accepted 4 stage ADSR envelope people were accustomed to. But as the modules
were laid out, the programming sections were similar to already commonly understood
analog synth concepts where the DCO was the oscillator, a DCW was the “filter” and the
DCA was the amp. It was a much easier concept to grasp onto than FM synthesis of the
time and made programming much more enjoyable for most who owned one.

The Eight Stage Envelope

The eight stage envelope is still pretty much the same as the typical 4 stage ADSR
envelope but allows for a little more control and complexity. This envelope is found in
each stage of CZ programming (DCO, DCW, and DCA). It allows you to say have an
attack after a decay but before the sustain as can be seen at slope 5 of figure 3. Or,
have an attack after a release as seen in slope 7. Sustain was chosen at any one of the
slopes the user chose. It could as easily be at point 2 than 5 as seen in the diagram. Of
course, in many patches that were created, they did not make use of all eight stages. In
fact, it was uncommon to see more than 4 stages. However, having that control allowed
for numerous possibilities that were not available in most instruments of the period. The
envelopes were assigned to different functions of the synth’s programming sections as
we’ll see in the sections ahead.

The Eight Stage Envelope

Figure 2
The DCO – Digitally Controlled Oscillator

The DCO housed the eight (8) waveforms we discussed earlier. With PD synthesis, we
have the option of a second waveform in the oscillator. In many forms of synthesis, the
introduction of another waveform in a single oscillator adds or subtracts from the shape
of the waveform but the CZ is a little different. The second waveform runs in series with
the first. Figure 2 below shows this principle and how it applies to the Phase Distortion
OSC on the Thor.

CZ Waveforms Produced

Figure 3

To the left we see Reason’s Phase Mod Oscillators with one or more of the 8 available
waveforms. To the right is the actual shape of the waveform as can be seen in any
audio editor. The top is that of as typical saw waveform. The middle is similar to what
you would expect from a square. But the third looks different. The second does not
affect the shape of the first. In running a second waveform we can see that they
alternate from a saw to a square and repeat. This was possible with all of the waveform
with exception to the resonant waveforms (waves 6-8). You could not run two resonant
waveforms together but could use them in combination with the five simple waveforms
(waves 1-5). An eight stage envelope was assigned to the pitch of the waveform. Two
parameters were provided. The first being the “rate” and the second being the “level”.
The rate determined the time it would take to achieve the first step and the second to
which level it would affect the pitch. Using complex envelopes in relation to pitch
provided some very interesting sound effects but had limited use to instrumental tones.
The DCW – Digitally Controlled Waveshaper

The CZ series did not have a filter like most synthesizers of its time. The synth relied on
its programming section called the Waveshaper. This stage followed the oscillator on
the programming panel and was used to manipulate the phase angle of the waveform(s)
in the DCO. In actuality, all the wave forms are phased sine waves. When the phase
angle was set to zero, all the waveforms of the CZ sounded similar if not alike. The
similarity was a sine. This can easily be demonstrated on Reason’s Thor by choosing a
waveform and setting the PM to 0 or turning the knob all the way to the left. This is
better visually seen by the waveforms in figure 4. In these examples a saw and a
square waveform had the phase distortion amount cycled from 0 to 64 in Reason. As
the phase angle was introduced we see the expected shape starting to form and then
back to a sine as it approaches a value of zero. Note the similarity in the center of each
wave.

Figure 4

By modifying the shape of the wave in a saw or square is how the CZ achieved its
“filtering” capability. It allowed a waveform or combination to achieve softer tones at a
little to no phase angle and then more distinctive waveforms as PD was introduced. In
this manner the wave shaping can be likened to a lowpass filter.

With typical synth filters, the programmer has his/her fun with filters by modulating the
frequency, resonance or both using a LFO. The CZ did not have a LFO in its
waveshaper. In fact, the only LFO found on the synth was used for vibrato. The CZ
took advantage of the eight stage envelope to finely shape the waveform. This was truly
unique as typically LFOs of the day were limited to the basic waveforms such as a sine,
saw or square. Casio’s envelope allowed for interesting design and shape for control of
phase with the luxury of PD level at varied length of time. Imagine controlling your
typical filter with a waveform as seen in figure 2. Of course, today we have many more
LFO waveform options as can be see in Thor but in 1985, this was special.
The DCA – Digitally Controlled Amplifier

The DCA is as simple as it implies. Having understood the CZ and its architecture so
far, we can easily see how the amplitude can be controlled. In this programming
section, we could control the volume of the oscillator waveforms. And, like the other
sections, we do this once again using the eight stage envelope. This as we have seen
allows for much more control than experienced with typical ADSR Amps. This could
allow a waveform to have a slow attack then quickly decay. But just before it completely
went silent it would sustain only to rise again fast and decay slowly. Of course, we do
not typically have this type of waveform affecting our instrument tones but it had purpose
when designing sound effects.

Line Select and Detune

The timbres of the CZ was constructed of basically two oscillator fed through a detune.
The line paths were distinguished as 1’ and 2’. This of course appropriately labeled the
programming sections DCO 1, DCO 2…. and so on. The user had the option of using
line 1, line 2, line 1 and 2 or line 1 on top of itself. These were fed through the detune
giving control to tuning in way of octave, semi-tones and fine tuning. Of course,
detuning was only present when two voices were working together. This was a great
method for taking the digital tones of the synth and “warming” them up like traditional
analog ones. Allowing large variations in detune provided the method of chorus within
the CZ line.

Vibrato

This is the only section of the CZ that actually had a LFO. This LFO had four
waveforms: triangle, sawtooth (ramp up and ramp down) and the square. These are
displayed in figure 5. This affected the whole tone. You would firstly select one of the
four waveforms. Once selected you could change three parameters. The first was the
delay which simply determined the length of time before the vibrato would take effect.
The second was the rate which determined the speed. And lastly, you could determine
the depth of the effect. Setting this to “0” basically was in effect turning the vibrato off.

Vibrato Waveforms

Figure 5

Ring and Noise Modulation

The CZ did have Ring Modulation and Noise Modulation. And as you may expect they
were slightly different than typical synthesizers. The two only worked when it was a two
voice patch…. meaning either 1’+2’ or 1’+1’ had to be selected. Ring mod simply used
the output of one of the voices to modulate the amplitude of the other. The noise mod
changed the sound of the second tone to a digital static sounding most closely to white
noise. In both cases they were a mathematical equations taking care to remove some
undesirable effects and the programmer has no control to the effect other than on or off.
Thor/CZ Relativity
OK….. the history lesson on Phase Distortion and the Casio CZ series was nice but now
the big question…… How are we going to create realistic CZ sounding patches? Well
the good news is that Thor makes it painless with the Phase Distortion OSC.

Phase Mod Oscillator / Oscillator Placement

This module combines the CZ’s DCO and DCW into one small area. Not only is it those
two things it also has the necessary control for the CZ’s detune parameter. As we can
see in the image below (Figure 6), the waveforms of the DCO are clearly visible. Control
of the DCW is neatly packaged in the one dial labeled PM.

Thor’s Phase Mod OSC

Figure 6

In creating patches very similar to an original unit, it must be observed that only one or
two PM OSCs should be used as that was all the CZ’s had (without Tone Mix).
Wherever you place the first you can consider to be DCO1 (or Line 1) and the second
DCO 2 (or Line 2). Placement of the PM Oscillators does make a difference depending
on what you intend to program. Though it isn’t the most important thing it would serve
us well to develop a system that we can easily work from to keep our patches quickly
useable. To keep it simple to remember, try to assume OSC 1 and OSC 2 spots on
Thor should be utilized for our “DCOs” so that when Ring MOD is desired it can only be
achieved by use of the AM Slider. It should be pointed out that this means of “Ring
MOD” allows for much more control than the original unit had. Use sparingly for results
true to the unit. A tutorial file called “tutorial_CZ _Template.thor” is an effective template
to start with but of course not limiting to.

The OSC 3 spot on the Thor we are going to keep in reserve for a noise oscillator. Even
though we discussed how it is different from other noise generators, it still has very close
similarities to that of white noise. Where we feel that noise is needed we can simply use
this in place of OSC 2 to get the desired effect. We can then uncheck the OSC 2 from
the signal path and add OSC 3. Having it on OSC3 also allows us to gently balance the
noise (or not) into the tone of OSC 1. But, if you wanted to experiment and possibly
even get a little closer to the digital noise created from the CZ, you can use the Noise
Mod in OSC 3 to control the Pitch or Frequency of OSC 2. If you choose this method, I
feel through my own experimentation that the “Static” mode opposed to White Noise
would yield more accurate results. Be sure to Turn OSC2 Pitch up to 100 and be ready
to lean heavy to OSC 1 in the Mixer. This is set up for us as a demonstration in our CZ
Template.

Envelopes / Emulating an 8 stage Envelope

As we know from learning about the CZ programming, it heavily depends on envelopes

to control the various parameters on the DCO, DCW and the DCA. By calculations, we
need six of them. On our Thor programmer we have the Mod Envelope Global
Envelope, the Amp Envelope and the filter envelope. But that is only four envelopes.
Four isn’t enough. We need six. Not only do we need six… they need to be eight stage
envelopes. But the only thing we have remotely similar is a few 4 stage… how is this
going to work? Well it should give you comfort to know that in most cases you really
won’t use that many. In fact, of all the patches in this refill only a very few of them
achieve or even have need for more than 4 stages. There simply isn’t a great need for it
except when making strange effect noises.

But, if found necessary, you can mimic an 8 stage by running two 4 stage envelopes in
series separated by a delay. In the file “tutorial_8stage.thor“, we can demonstrate this
technique. The concept is having two of Thor’s envelopes in series with each other. So
when one envelope has done what it intended to do, the second will come in after
completing another four stages. The two envelopes are separated in time by the delay
of the second. This makes the second have to be a MOD envelope or the Global
envelope as they are the only two with delays. The delay of the second one should be
properly set so that it triggers after the envelope of the first has entered it’s sustain
period. Also keep in mind that the second envelope is a modifier of the value at sustain
of the first envelope. As you can quickly see, the downside to this method is that it can
swallow up all your available envelopes in a single Thor patch very quickly leaving you
with little to no envelopes to control other parameters. As this is a setback for truly
complex CZ patches, this too can be overcome with our trusty friend the Combinator as
we will discuss in the next section.

Parameter Settings of “tutorial_8stage.thor“

Figure 7
Getting more envelopes
As our patches get increasingly more complex, we will run out of resources on our
mighty Thor to accomplish our CZ programming. Thor however, has a robust
modulation matrix as well as CV routing. By using a Combinator, we can once again add
more control using the envelopes of another one or more Thor devices. In the file
“tutorial_Additional_Filters.cmb” we will demonstrate how to add further control to our
patches.

The “tutorial_Additional_Filters.cmb” patch is set up so that only one Thor holds the
oscillators we intend to use. A second Thor is added inside the combinator but we have
no oscillators chosen. In fact, as we hadn’t added a mixer, only one device can be
audible in this patch and that is the one we called “CZ Patch”. The second Thor is for
additional Envelopes as we need them. As we learned in the previous section we
created a virtual 8 stage envelope for the pitch of oscillators 1 and 2. In this example,
both envelopes were used from our primary Thor patch holding the oscillators. The
second Thor device we set up a second set of envelopes to create another virtual 8
stage envelope. In this device we called “Envelopes’, we crated another similar series of
envelopes and routed them to CV out 1 in the modulation matrix. We then routed CV1
output on the back of our “Envelopes” device to the CV1 input of our “CZ Patch” device.
Lastly, we set up in our CZ Patch modulation matrix a routing from CVin1 to the PM
parameter of both our oscillators. What will be heard?

Thor Patches of “tutorial_Additional_Filters.cmb”


Figure 8

If all is right, when you press a key and hold it on your keyboard you will distinctly hear
two virtual 8 stage envelopes in effect. One will be controlling the pitches of the
oscillators in the “CV Patch” and the other will be controlling the phases of both
oscillators. The pitch quickly dives and holds for a second and then rises fast with a
slow descent in pitch to follow. While this is happening, the phase starts out with a
noticeable sharp tone and then quickly softens. After the pitch starts slowly decreasing
the second time, the tone then increases in sharpness for a few seconds before
returning back to a softer tone. So in using more Thor envelopes contained within a
combinator, we can effectively create our six 8 stage envelopes if needed.
Two Waveforms – Two Amplitudes

As much as it would nice and neat to keep our CZ emulation on the Thor limited to a
single Thor, we have seen in the past example where it is necessary to use one or two
more to accomplish our more creative programming. This is another such instance and
with good reason. Thor as we know is a very versatile synth with many capabilities but it
is limited to the fact that it has only one Amp Envelope for the sounds it creates. In the
Casio CZ, this was not the case. As we discussed earlier on CZ architecture, each line
had its own DCA with its very own 8 stage envelope. This allowed for say line 1 to be a
short percussive tone and the second to have a slow attack with a long decay. With this
as it is, two Thor devices will have to be created with each having its own “line” or
oscillator (refer to file “tutorial_Different_Amps.cmb”).

In this example, we have two Thor devices in one combinator. “Line 2” combinator has
its audio routed to the audio input of the “Line 1” combinatory. This was done so that
there was no need for a mixer as well as having the ability to share the effects on “Line
1”. Additionally, if you were to look at the back of the devices you will see that the CV
outputs of each device were run to the others CV inputs. Though not used in this
example, you could easily share envelopes between the two devices to give greater
control to the parameters on each device. If you have them there… why not use them?

Let’s flip the rack back to the front again. As you see, each Thor device is respectively
labeled line 1 and line 2. Because we set it up this way, each Thor device has its own
Oscillator, Phase Modulation and Amp Envelope. If you play a note of the patch you will
find that line 1 has a saw wave oscillator with short amp envelope and line 2 has a
square wave oscillator with a longer amp envelope. You can hear the clear difference
between them. If you cannot hear it, click on the combinator buttons labeled after each
device. These buttons silence their respective lines for a better evaluation.

Vibrato

It is of course worth mentioning and certainly easy to program. We discussed on page

5, figure 5 about Casio’s only LFO and that it was used for Vibrato. The Vibrato had four
waveforms: Triangle, Saw (Ramp Up and Down) and a Square. Fortunately for us these
are represented in Thor’s LFO as waveform 1, 2 and 3. Waveform 3 is a saw. In order
to change saw direction, you will need to give it a negative value. For the “depth” of
vibrato as it applies to CZ is based on the value you assign in the modulation matrix and
of course the rate is based of the rate you chose in the LFO.
Going Beyond
So, through this tutorial we’ve discussed how to emulate authentic sounding CZ patches
for Thor. For the most part, the patches in this refill do the same and are built on the
principles we’ve discussed. Many of these patches were designed in trying to duplicate
actual CZ patches and verified side by side with the original unit. Better than 95% of the
time the differences were almost indistinguishable. The results were shockingly
accurate. However, as we are not comparing apples to apples… there were some slight
variances.

With these Thor CZ patches, they were kept in spirit of the CZ line. But, Thor offers so
much more. It gives you control well beyond the original CZ’s ever could. Several
patches, though on the surface are very CZ, do take advantage of the use of filters for
effecting through MOD wheel and use modules like the shaper. We can now assign
controls that we use “hands on” from our keyboard or controller that in the past we only
controlled by the eight stage envelope. We can change the phase live from a slider or
pad on our controller. We can on the fly adjust the balances between line 1 and line 2.
Thor also has built in effects, like the delay, that the units did not have. It has a built in
step sequencer that is not limited to MIDI data only and can be assigned to parameters
to crate even wilder PD synth patches. This is the CZ for the future. Hope you enjoy it!
Materials of This Refill
Tutorial Files (Templates Folder)

1. “tutorial CZ Template.thor” – Thor Patch – This file serves as a simple template to get started in creating an emulated
CZ patch.
2. “tutorial 8stage.thor” – Thor Patch – This file demonstrates method of accomplishing a virtual eight stage envelope.
3. “tutorial Additional Envelopes.cmb” – Combinator Patch – This file demonstrates how to use another combinator’s
filters for development of additional envelopes.
4. “tutorial Different Amps.cmb” – Combinator Patch – This file demonstrates how create a patch that has two different
amp envelopes.

Demo Song
One demo song to highlight a few of the patches of the refill.

Thor CZ Patch List

01 CZ-101 Preset - Brass Ens 1

02 CZ-101 Preset - Trumpet
03 CZ-101 Preset - Violin.
04 CZ-101 Preset - String Ens 1
05 CZ-101 Preset - Elec Piano
06 CZ-101 Preset - Elec Organ
07 CZ-101 Preset - Flute
08 CZ-101 Preset - Synth Bass
09 CZ-101 Preset - Brass Ens 2
10 CZ-101 Preset - Vibraphone
11 CZ-101 Preset - Crispy Xylophone
12 CZ-101 Preset - Synth Strings
13 CZ-101 Preset - Fairy Tale
14 CZ-101 Preset - Accordion
15 CZ-101 Preset - Whistle
16 CZ-101 Preset - Percussion

Acoustic Piano Evil Violin Penny Drop (CMB)

Android Cathedral (CMB) Feedback Organ Razor
Analog Bass Fifth Lead Saxaphone
Aqua Organ Fretless (CMB) Shimmy
Attack Bass Frog Bass Sirenity
Bassoon Glass Bells Sloppy Bass
Bells Grimey Bass Slow Brass
Bright Brass Hard Synth Spit Floot
Cathedral Organ Hard Electroid (CMB) Square Org
Cheeky Harmonica Steam Pad
Church Bells Harmonium Syn Banjo
Church Organ Harpsichord Sync
Circus Organ Hollow Pad Synth Brass
Clavinet Kalimba Synthoid
Clean Bells Lazer Bass Terrestrial Clav
th
Coming in 4 LFO Buzz They're Coming
CZ Sweep Looming Tinker
Digital Sunrise Marimba Toob
Electra-Bell Mellow Organ Touch of Terror
Electric Drum 01 Octomoogy Toy Piano
Electric Drum 02 Organ Transmission Pad
Electric Grand Out of Tune Piano Tuba
Emergency Outback Pad Twisted (CMB)
English Horn Overdriven Whinny Cat
Ethnic Fret Penny Drop (CMB) Wicked Dreams (CMB)
Evil Cello Pizzed Submissive (CMB)
Monopong Bass (CMB)

* Thanks to Line 6 for the Distribution of this Refill