A few decades ago (mid to late 1980s) I published the following two excerpts
as parts of a column for a MUG--Midi Users Group in upstate NY.
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Excerpt 1:

     Lastly, 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.  
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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Excerpt 2:

     In the last issue of the 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.

     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 an auditor 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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2/10/2007:

 Hope this helps all who want to learn techniques for creating CZ patches. If 
you publish it else where (in this form or tweaked), please give credit to Dr. Steve.