> I'd be very interested in hearing those mp3s, as well as trying out
> any patches you'd care to share.
I will work on some MP3 samples of tunes using CZ. I hope the
compression doesn't do too much damage to the sounds.
> About that neat spacey/ethereal sound of yours: Do find that text
> file! :-)
Found it. See below [from the mid to late 1980s].
> I found some CZ-101 and CZ-1000 patches (syx dumps) on the web
> yesterday and tried loading some of them to the CZ-5000. My CZ
> accepted them, by there was no sound. Should the patches be
> compatible or do the syx sound data formats differ?
The format should be identical. CZ-1 differs slightly. Create a
folder in the files section and place the syx data there. Next week,
I should have time to look at them.
--Steve
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From vol. 1 no. 1 of the SMUG Newsletter [Syrause Midi User's Group]
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Here are two of my favorite homemade patches for the CZ fused into
one memory location. I recommend saving this in line select mode 2.
This facilitates the 16-oscillator keysplit configuration (described
below). Then use the line select switch to access bass1.1. (Or save
them as two separate patches.)
DR. STEVE CZ PATCH - DRS001<bass//rumble (Two Patches For the Price
of One!!)
Vibrato: 4 00 50 07 Ring/Noise: optional/off
Octave: -1 Detune: + 00 00 03
DRS001<walking bass1.1 DRS001<spacey rumble [1 osc.]
line select 1 or 1+1' line select 2
DCO1: Waveform: 1 0 DCO2: Waveform: 3 1
Step 1 Step 1 2 3 4
Rate 50 Rate 81 03 00 50
Level 00 Level 66 67 66 00
end sus end
DCW1: Key follow: 0 DCW2: Key follow: 8
Step 1 2 3 4 5 Step 1 2 3
Rate 99 50 50 50 50 Rate 66 20 37
Level 99 00 00 75 00 Level 70 44 00
sus end sus end
DCA1: Key follow: 0 DCA2: Key follow: 3
Step 1 2 3 4 Step 1 2 3 4
Rate 96 40 50 50 Rate 90 30 25 50
Level 99 58 99 00 Level 83 99 02 00
sus end sus end
Due to space limitations, I will explain several performance options
in the next issue. For the time being, try this set up for the CZ-
3000, CZ-5000, and CZ-1 [or use CZ-101 for 1/2 of the following].
Set both halves of a key split to this patch--line select mode 2.
This gives 8 oscillators per half [CZ-3000/CZ-5000]. On the lower
half, rapidly repeat an octave bass pattern, D--D for example. On
the upper half (especially the top octave), rapidly and repeatedly
arpeggiate (downward) a triad, A--F--D for example.
Next month, I'll explain more about this technique for creating an
ominous or Gregorian-chant-space effect (also great for simulating
airplanes on a runway). For single notes in the right-hand be sure
to strike each note repeatedly. This works particularly well with
modal minor melodies.
With line 1 or 1+1', for now just try a walking bass or a boogie bass
pattern. The upper registers also produce some usable effects.
Enjoy!
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From vol. 1 no. 2 of the SMUG Newsletter [Syrause Midi User's Group]
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In the last issue of the SMUG newsletter, I offered two CZ patches,
(1) walking bass1.1 and (2) spacey rumble, with brief explanations of
some performance options. In this issue, I have a few additional
points about the patches plus a a preview of the MIDI subboard
currently on Gary's BBS.
If you've entered the CZ patches into your synth, you may have
noticed a slight swelling on the walking bass after the key is
released. This is deliberate! Though it may sound a little odd for
single notes, when played with moving bass patterns, the swelling
takes place underneath the sound of subsequent notes. It is this
very quality that helps to give a listener the psychological
perception of a real bass. For a sequencer-based operation, you may
want the bass part assigned to two monophonic channels with the notes
being altered between channels.
The spacey rumble patch demonstrates a couple of dimensions of sound
synthesis: (1) how to use a one-oscillator patch to create special
effects (thereby illustrating the CZ synth's 16-note capability) and
(2) how to use frequency shifts to create a chorus effect. The slow
envelope on the DCO takes effect as the same notes (either individual
notes or broken chords) are struck and then released. With the
spacey rumble, the release time is rather long. The patch has been
deliberately constructed so that the decay will be hastened by simply
depressing then releasing the sustain pedal (either real time or
through a MIDI sequence). Keep in mind that the spacey rumble is
really designed as a polyphonic performance patch, since the 16-note
capability is only available in polyphonic mode. Fortunately, it
works both from the resident keyboard as well as through MIDI.
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