ALM Busy Cizzle

MUSICAL FEATURES

Cizzle is a dual digital phase distortion oscillator inspired by the classic "CZ" series of synthesizers.

Equipped with phase distortion (PD) characteristic of the CZ series, it also features layering and detuning of primary and secondary oscillators, an expanded morphable PD waveform generation algorithm, unique resonance waveform generation, and even more CZ sound. It even features the key final stage ring modulation and noise mode.

The voice has a built-in VCA, various CV controls, a chord mode that allows you to specify and rotate chords with CV, a tracking function, and trigger mode switching, and can be output independently or mixed in stereo.
“CIZZLE” brings CZ-style synthesis to Eurorack, with soft ambient tones and chords inspired by 90s Detroit techno.Reese styleIt offers a rich sound palette, including bass, unique pseudo-resonance synth tones, and more.

• Dual-phase distortion VCO with direct and voltage control parameters
• Encoder allows easy, fast and accurate tuning
• 9 morphable phase distortion algorithms (OSC A)
• PD offset “shape” control
• Unique CZ resonance waveform (OSC B)
• Multiple OSC B modes based on classic CZ synthesis; Rez, ring modulation, noise.
• Direct and trigger OSC B mode switching possible.
• OSC B can follow the pitch changes of OSC A by adding an offset.
• Voltage control cord mode with up to 8 voices that can be rotated.
• Output level VCA for each oscillator
• Output that can also output a stereo expanded mix signal with a button

How To Use

CIZZLE consists of a digital oscillator pair: primary oscillator A and secondary oscillator B. Although both can be used independently, they are primarily intended to be layered together, with B optionally tracking the pitch of A, creating some interesting sounds common in CZ synthesis. Oscillator A utilizes various phase distortion algorithms to generate waveforms in the classic CZ style or beyond.

To complement A, oscillator B is a pseudo-analogresonance soundYou can also use mode control to create complex bell-like or human voice-like tones.ring modulationCombine with type effects or CZ style digitalnoiseMix in waves to create melodic and percussive percussion textures.

The output level of each oscillator is set using a level control.Built-in digital VCAIt can be controlled via. Each oscillator can be output independently or mixed together with an optional stereo output mode.
Finally, Chord mode can be used to generate up to 4-voice chords from each oscillator (for a total of 8 voices).
Numerous CV and trigger inputs allow modulation of generated waveforms, levels, code selection, and modes.

The top section of the module has controls and inputs for setting the pitch of the two oscillators.

Interface

Frequency controls

Oscillator A (primary oscillator) uses an endless encoder to set the fundamental frequency. Clicking on the encoder toggles the frequency increment made by the encoder between octaves, semitones, and cents (approximately). A quick double-click on the encoder will initialize the fundamental frequency to C3 (approximately 261.63Hz) and return to octave increments. Oscillator A's V/Oct pitch input is added to the fundamental frequency set by the encoder. The total range of Oscillator A is approximately 8 octaves, approximately 32Hz to approximately 8.3kHz.

Oscillator B (secondary oscillator) operates in two modes: standalone and tracked with a dedicated V/Oct, or tracks OSC A and can be offset by semitones (mode switch with the Track button). In classic V/Oct mode, the frequency knob sets the fundamental frequency of OSC B, and the pitch input is added to it, following the V/Oct standard. In track mode, OSC B will instead follow the pitch of OSC A, with an offset of -/+ 2 semitones by both the frequency knob and the pitch input. In standalone mode, Oscillator B's knob range is approximately 12 octaves, from approximately 3Hz to approximately 32Hz. Turn the frequency knob all the way to the left to get C. The pitch range including input voltage is approximately 387 octaves, approximately 6Hz to approximately 32kHz.

OSC A Shape Control
The waveform of OSC A is controlled by a combination of its 'Shape' and 'PD Algo' settings. The 'Shape' control sets the 'amount' of phase distortion, starting with a pure sine wave in full CCW and increasing to full tonal complexity when set to maximum. Phase distortion works by distorting a normally linear wave table lookup operation. A linear phase lookup on a sine waveform table will produce a sine wave, but by adding a variable 'kink' (or other more complex distortion) to the lookup function, you can generate a variety of other waveforms. can be generated.

OSC A PD Control
The 'PD Algo' control sequentially transforms nine different phase distortion 'algorithms' (i.e. lookup table distortion types) to determine the character of the tonal sweep of the 'Shape' control.

OSC B Shape Control
OSC B generates a classic CZ-style resonance waveform for creating pseudo-resonant filter sweeps. The 'Shape' knob and CV input control the sweep by setting the frequency of the resonance, starting from a pure sine wave in the full CCW position. In practice, this is used similarly to the cutoff frequency control of a low-pass filter.

OSC B Mode
The OSC B "B Mode" button and associated LED select OSC B's mode of operation and function like the "Modulation" section of a CZ synthesizer. The three modes are:
• REZ - Generates an unmodulated, pure resonant wave sweep. Same as using one line without modulation in CZ.
• RING - Performs ring modulation between OSC A and OSC B and generates the result from the output of OSC B. It is the same as doing ring mod between Lines 1+2 in CZ.
• NOISE - Algorithmically blends digital noise modulation into a resonant waveform. The frequency of the noise is related to both the OSC B frequency and the Shape setting. Same as using one line with noise modulation in CZ.

OSC B modes can be switched by pressing a button or by trigger input.

Chord selection

OSC A and B can each simultaneously generate a four-voice chord whose fundamental frequency sets the root note of the selected chord. The type of chord is selected using the "Chord" control or by applying a control voltage to the associated chord CV input. The code is as follows, starting from the leftmost position of the knob.

• Octave (across 4 octaves)
• Fifth (across 2 octaves)
• Major Triad
• Major Triad chord IV (2nd inversion)
• Dominant 7th
• Major 7th
• Minor 7th
• Minor Triad
• Suspended 4
• Unison detune 1
• Unison detune 2
• Unison detune 3
• Unison detune 4

Output mix mode
By default, OSC A and OSC B are output directly from the A and B outputs, respectively. Activating the Mix switch mixes the two oscillators to both outputs, applying a subtle stereo expansion effect.

Patch example

1. Stereo Reese bass

Kevin Saunderson's Reese name, which had a great influence on UK bass music, etc."Just Want Another Chance"This is the baseline.

1. Raise the OSC B level control and set the mode switch to "Ring".
2. Turn on OSC B's track switch and adjust its frequency to emphasize different harmonics within the ring modulation.
3. Select a chord in the Chord control.
4. Patch the pitch CV to OSC A's V/Oct input and the envelope to OSC B's level CV input.
5. Patch random or smooth modulation to OSC B's Shape CV input to add unique tonal changes to ring-modulated chord voices.

3. Dual synth voice