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Like friends, soft synths come and go, but only a few will be there for you year after year. In this sense, Z3TA+ 2 is a firm ally of ours.

1. Z3ta Vst Zip Download Windows 10

It’s been that way ever since the first version, programmed by René Ceballos of rgc:audio, debuted in 2002. A few years later, Cakewalk took on rgc:audio, and in 2007 gave us Z3TA+ 1.5. After that, though, it looked as if Z3TA+ was going nowhere, until v2 was unexpectedly announced a few months back.

While the interface has had a significant functional and aesthetic makeover, the synthesis architecture hasn’t changed.

Z3TA+ is a Waveshaping Synthesis for Windows users. The program is designed to suit any and all of your electronic productions. It features: 14 continuously variable dual-stage filter types, envelopes to control any parameter, 6 Powerful LFOs for individual or universal control, free and adaptive pitch-bending analog style performance grid, and more. Related Search Terms: Cakewalk Z3TA+ 2 Free Download + Crack, Cakewalk Z3TA Plus 2 VSTi v2.2 Win + Mac OSX / Free Download, Cakewalk Z3TA Plus v2.2.3 Incl Keygen-R2R, Z3TA Mac Crack, download Z3TA License full version, Z3TA vst zip download. Installation Instructions. Related Search Terms: Cakewalk Z3TA+ 2 Free Download + Crack, Cakewalk Z3TA Plus 2 VSTi v2.2 Win + Mac OSX / Free Download, Cakewalk Z3TA Plus v2.2.3 Incl Keygen-R2R, Z3TA Mac Crack, download Z3TA License full version, Z3TA vst zip download. Installation Instructions.

Apr 25, 2016  Download Cakewalk - Z3TA+ 2 v2.2.2.120 / Z3TA+2 is designed to suit any and all of your electronic productions. From pop to trap, energetic to atmospheric, you’ll have. Z3TA+2 – VST/AU Synthesizer Plugin by Cakewalk Cakewalk presents Z3TA+2, a powerful virtual synth who bring the legendary waveshaping sound of Z3TA+ with new features such as new filters, waveshapers, flexible effects, expressive control and a great new interface.

Z3TA+ 2’s most distinctive feature remains its oscillator section, featuring six wavetable oscillators with waveforms ranging from analogue favourites (saws, squares, etc) to grungy, harmonic-laden affairs. There’s an eight-voice unison mode, oscillator reset/sync and typical pitch controls.

Each oscillator is connected to the next, in a circular fashion, so the sixth feeds back to the first. The Group controls determine how they interact: the Add mode mixes them, like normal synth oscillators, but you can also use ring, phase or frequency modulation and hard sync.

Already this gives the oscillators potential for everything from smooth analogue tones to the weirdest, dirtiest noises imaginable.

The part of your brain that deals with soft synthesis is no doubt throbbing already, but get a load of this: each oscillator has a waveshaper with 16 sliders for radically reshaping the waveform.

Some are self-explanatory, such as LP and HP Filter, but others have an abstract effect that cannot be described.

There are four new waveshaping styles: Random All, Random Odd, Fold and our favourite – Spectrum.

Throwing shapes

In previous versions of Cakewalk Z3TA+, wiggling the waveshaping sliders showed potential for some cool sounds, but frustratingly, you couldn’t target them using the modulation matrix.

Well, now you can, and this is perhaps the most exciting new feature of Z3TA+ 2 in terms of raw synthesis power.

Of the dual filters, in addition to the nine variations on low-pass/high-pass/band-pass/band-reject (which are decent, but not breath-taking) and formant filter, there are three new stacked resonant modes (which make use of the new Separation control) and a comb filter.

When pushed, these additions can lead to rasping, squealing sonic mayhem that’s great for contemporary dance genres, and the per-filter limiter option can keep them under control.

Serial offender

The filters can be arranged in serial (Dual) or parallel fashion and panned individually. The way Z3TA+ 2 handles stereo signals (ie, when using stereo unison oscillators) is still limited, however, because when you run the filters in parallel, they operate in mono, and you thus need to use both of them to achieve stereo filtering.

The mod matrix is much the same as before, with 16 slots and Range, Curve and Control columns for more control than most synths, but it’s not so intuitive compared to more visual modulation schemes, such as in NI’s Massive.

Main mod sources are six envelopes and six LFOs. The new graphical view makes envelopes easier to edit and the potentially complex LFOs readily grasped.

One thing we’re not keen on is the non-standard labelling of tempo sync modes, where ‘1’ means one quarter note (ie, one beat), ‘1/4’ means a 16th-note, etc. Weird.

Oversampling options are the same, going up to 2x (but no higher). There is a new ‘Highest’ option for wavetable quality that can reduce artifacts in certain grungey patches.

Flying fingers

There are a few new performance features for Z3TA+ 2, and the most novel is Adaptive Pitchbend.

Normally, when you use the pitchbend wheel, the wheel’s maximum always gives, say, a two-semitone increase. Thus it’s pretty easy to bend notes out of key. Not so with Adaptive Pitchbend. Enable this, set the desired key, and the maximum travel of the pitch wheel always gives a note that’s in key.

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It even works on chords, reconfiguring major triads to minor on the fly, for example. If you don’t want to play in a fixed key, there’s an adaptive mode that will attempt to follow you, and it works quite well.

In use, this is all tremendous fun and very inspiring, whether you’re a grade-eight wiz on the keys or a one-fingered plonker.

Elsewhere, there’s an XY pad mod source that can be controlled by MIDI or even a joystick.

Finally, the arpeggiator has been improved, now displaying the pattern (note that it’s not an editor).

There are also Humanize and Swing controls (the latter lacks the option to swing eighth-notes or 16th-notes, however), and most excitingly, the option to import any MIDI file as a pattern.

This latter feature was actually present in previous versions, yet it never seemed to work properly. It does now, though!

Distorted reality

The effects (distortion, modulation, delay, compression, reverb, EQ/amp sim) can now be dragged into any order, making them all the more useful.

The Distortion module has new routing modes, and its Smart Shaper is replaced by the HyperTube mode, which sounds similar but seems capable of a tad more grit without compromising clarity, and so works well on chords and complex patches.

Oddly, Valve Amp mode now offers slightly more drive, but the Heavy Metal option has far less, and is now the meekest of the lot.

Z3ta Vst Zip Download Windows 10

Oh, and there’s no effects version of Z3TA+ this time around. Shame!

Previously, Z3TA+ attracted microtuning fanatics with its multiple optional tuning styles and ability to import tuning files. These features have disappeared for v2 – we’re sad to see such forward-thinking geekery struck off the list.

Cakewalk Z3TA+ was always known for its masses of great patches, and as well as a bank of classic Z3TA+ patches, there are more than 1,000 new ones that really do show off what the synth can do.

There are ace atmospheric pads; glassy FM bells; dance sounds ranging from funky and classic to modern and hard; 70s/80s analogue-alikes; some wicked FX and drum hits; laudable attempts at recreating real instruments; ‘one-finger’ evolving sequences and more.

While the underlying sound engine hasn’t changed much, the sound quality stands up to other modern soft synths, especially since it’s now more feasible to pile on lots of oscillators and leave the 2x oversampling on as standard.

We’d recommend Z3TA+ 2 to anyone looking for a powerhouse synth, especially at just £69.

If you’re a newcomer to synthesis, expecting to make all your sounds from scratch, you could be out of your depth, although it’s great as a ‘preset machine’, and it’s easy enough to tweak presets to your taste.

Those who will get the most out of Z3TA+ 2, however, will be hardcore synthesists and sound designers, for whom a world of aural exploration awaits.

Download section:

The legendary waveshaping sound of Z3TA (zay’-ta) is back-and better than ever. New filters, modulatable waveshapers, flexible effects, expressive control and a gorgeous new interface make Z3TA 2 one seriously powerful synth. It’s not often that a soft synth can be called a classic, but in the case of Z3TA it’s definitely appropriate. Used on countless tracks over the past decade, Z3TA’s distinctive sound has been a staple of electronic artists the world over.Bigger and Badder

Z3TA+ 2 has a completely redesigned user interface that inspires performance and makes sound design clear and comfortable while preserving that signature sound that has made it a favorite of top producers and musicians around the world.

Synth Page

Oscillators Section:

• 32-bit wavetable synthesis with three interpolation modes (DRAFT, NQ, HQ).
• Full Stereo processing.
• 6 Oscillators, 60 built-in waveforms, 10 user loadable waveforms, PWM capable in all oscillators with any waveform.
• Loadable Wavetable Sets: Programs using different wavetable sets can be mixed in a bank. z3ta+ will find and load the appropriate wavetable set when the program is selected on-the-fly.
• Loadable Oscillator USER Waveforms: z3ta+ can load the USER oscillator waveforms 1 to 6 from standard wave files (.wav). Up to six individual waveforms can be loaded per program, and then transformed by using the shaper as the internal waveform set. It is possible to load different waveforms in each preset. z3ta+ will find and reload the used waveforms when the program is selected on-the-fly. The wave files must be mono, up to 64k samples, in any samplerate.
• 64 voice polyphonic (CPU dependant) with polyphony limiter and Intelligent Voice Allocation (no clicks when maximum polyphony is exceeded).
• Full Stereo processing.
• 6 Oscillators, 60 built-in waveforms, 10 user loadable waveforms, PWM capable in all oscillators with any waveform.
• Independent Waveshaper for each oscillator with 14 wave transformations: WARP, TWIST, MULTIPOINT, WAVE, SYMMETRY, DRIVE, WAVE, OFFSET, SHRINK, SELFSYNC, BIT REDUCTION, HIPASS and LOWPASS filters, , DC-OFFSET and WINDOW, all fully band limited and real-time capable.
• Full Legato mode when operation is monophonic.
• Circular inter-oscillator modulation.
• Ring modulation, Hard Sync, PM and FM modes for any oscillator.
• MULTI mode for any oscillator, which turns any oscillator in 8 oscillators (4 stereo oscillators) with adjustable detune.
• Octave (-5 to +5 oct), Transpose (-12 to +12 semi), Detune (-50 to +50 cent) and Phase (0 to 360 deg) controls for each oscillator.
• Key sync and Free Running, Normal or Inverted, with or without keyboard tracking modes for any oscillator.
• Main Transpose, Main Tune controls.
• Oscillator random tune control with per-oscillator generator.
• Adjustable Punch control (drum machine-like DC burst).
• Individual settings for Pitch Bend Up and Down (-12 to +12 semi).
• 4 Pitch Bend modes: Normal, Up, Down and Hold notes.
• 4 monophonic/polyphonic Portamento modes: Normal and Fingered, Fixed and Variable time.
• Two mixing busses for oscillators outputs.
• Individual Level/Modulation amount control.

Filters Section:

• 2 Filters, 10 Filter Modes: 12dB/oct LPF/HPF/BPF/BRF, 24dB/oct LPF/HPF/BPF/BRF, 36dB/oct LPF, formant.
• Individual Cutoff, Resonance, Resonance Boost, Pan, Level and Limiter controls for each filter.

LFO Section:

• 6 Morphing capable LFOs, 4 global, 2 local (per-voice), all host Tempo Sync capable.
• 60 Waveforms, 10 user waveforms.
• Individual Offset, Delay, Fade In, Morph Time, Speed, Tempo Sync and Key Sync mode controls.
• 10 LFO combination modes: MORPH, ADD, IADD, SUB, ISUB, MUL, MIN, MAX, HALF1, HALF2.

EG Section:

• Eight 6-stage envelope generators, 1 bipolar, 6 unipolar, 1 main Amp EG, all with adjustable positive or negative amount.
• Individual Delay, Attack Time, Slope Time, Slope Level, Decay Time, Sustain Level, Release Time controls.
• Individual Attack, Slope, Decay and Release shape controls with 3 shapes (linear, slow, fast).

Modulation Matrix:

• 16 row modulation matrix with Source, Range (min/max), Curve, Control and Destination options.
• 24 modulation sources, including all LFOs, EGs, Attack and Release velocity, Unipolar and Bipolar keyboard tracking, internal functions and polyphony.
• Min and Max modulation adjustable.
  12 modulation curves, including Linear, Slow, Fast with normal and reverse polarity, and four pitch curves.
• Over 200 modulation controls, including all EGs, unipolar and bipolar Pitch Bend, channel and polyphonic Aftertouch, Modulation Wheel, Breath, all MIDI CCs, velocity, unipolar and bipolar keyboard tracking, audio input and X-Y pad.
• Over 60 destinations, including Pitch, PW, Levels, Routing, Pan, LFO and EG parameters, Functions, and many FX parameters.

Effects Page

Drive Section:

• 6 Drive modes, including Soft/Hard drive, Valve Amp, Smart Shaper and Heavy Metal (local plus global drive stage), individually selectable for both filters.
• Stereo Decimator (lo-fi).
• Tone, Drive and output Level controls.

Modulation Section:

• 9 Mode Modulation section, full stereo operation (except when mono modes are selected).
• Modulation speed sync’able to host Tempo.
• 3 modulation waveforms.
• Broad range of Chorus, Flanger and Phaser effects available, including mono/stereo chorus, flanger and phaser, 6-voice chorus, Quad phaser.
• Delay, Speed, modulation Depth, Feedback, 2-band Modulation Equalizer with selectable modes and Level controls.

Compressor Section:

• 3 Mode dedicated compressor, with Threshold, Ratio, Gain and output Level controls.
• Delay Section.
• 3 individual stereo delay lines, with Time (L & R), Delay, Feedback and Level controls.
• Multi mode 3-band EQ inserted in the feedback loop, with 6 EQ modes.
• Tempo Sync capable.

Reverb Section:

• Full stereo reverb.
• 4 Reverb modes, including Small Room, Mid Hall, Big Hall and Plate.
• Size, Damp, Lo, Hi and Wet/Dry controls.

Eq Section:

• Full stereo eq.
• 7 band equalizer with 11 equalizer modes (Wide 1/2/3, Half 1/2/3, Low, Lo/Mid, Mid, Mid/Hi, Hi).
• Simulator Section.
• Stereo Cabinet-Amp simulator, with 19 different preset simulations.

Little snitch windows equivalent. Main Effect Section:

• Stereo Main Limiter.

Graphic User Interface:

• 2 page, 3 deployable windows (Shaper, X-Y Pad, Spectral Analyzer), several subsections display.
• Graphics by bitplant.
• Inertial sliders, menu-driven multi lists, fast page selectors.
• Sound Preview ribbon at bottom, variable velocity (y position), MIDI transmit to host (VST).
• Polyphony indicator.
• Master Volume and Limiter controls, output VU meter.
• Full mouse wheel support.
• Focus-capable controls, full PC-Keyboard support.

X-Y Pad:

• Deployable X-Y pad with random mode via right-click, assignable as CONTROL in the modulation matrix.

Programs / Banks:

• Bank and Program selector, Program up/down, Program Name display/editor.
• 6 banks (A-F), 768 program capacity, 128 factory presets.
• Saves and Loads standard.fxband.fxp files.
• Compressed bank file format, to save space in song/bank files.
• All settings saved in the song.
• Copy/Paste/Initialise program utilities.
• Auto-load of Default file, utility to save Default File.

MIDI Learn:

• All controls are MIDI Learnable, with adjustable min/max/reverse status via right-click.
• Multiple MIDI CC#’s are possible to be assigned to same control, multiple controls can be attached to one MIDI CC#.