In the 2 tone modes the chorus setting controls which tone goes to which of the left and right output channels. It features three modes 'normal' (1 tone 16 voice), 'tone mix' and 'key split' (2 tones with 8 voices each). It doubled the memory, was multitimbral, also stored splits and layers as 'Operation Memories', added velocity and aftertouch sensitivity to the keyboard, along with programming parameters to control how velocity and aftertouch pressure would affect the sound. The CZ-1 synthesizer is most advanced in the CZ series. 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. 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. However, the CZ line used phase distortion to simulate an analog filter. Like many early digital synthesizers, its sound was regarded as 'thinner' than the sound of an analog synthesizer.
To make the CZ synthesizers inexpensive, so they would be affordable to amateur musicians (a much larger market than the professional musician market), Casio used digital synthesis without a filter instead of traditional analog subtractive synthesis with a filter. Yukihiro Takahashi was also on board during development he then toured with a CZ-1 in 1986.
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.
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