Cakewalk Z3TA+ IOS Synth

[Elantric]

Cakewalk Z3TA+ IOS Synth
http://www.musicappblog.com/z3ta-review/
Review by John Walden

Z3TA+ review – Cakewalk bring their classic virtual synth to iOS
February 26, 2014
Cakewalk bring their classic virtual synth to iOSReally? Do we need another synth app? If there is one category of iOS music app that you could argue was already over stocked, it would be synth apps; there are dozens of software synths on the iTunes App Store.
Of course, these apps are not all made equal. There are a select collection of exceptional products and, while some of these are 'expensive' in app terms, compared to equivalent desktop virtual synths, they are being sold at knock down prices. Whether used live or for recording, the very best iOS synth apps are truly excellent and can be a match for their desktop relations.
Equally, there are some very solid workhorses; synths that get a job done, perhaps don't place such a burden on your iDevice's resources, and maybe don't even cost as much as your average high street cappuccino. There are also the weird and wonderful; perhaps somewhat unconventional (thankfully, some indie iOS developers can occasionally think some distance outside the box) and filling a very specific niche, but interesting none-the-less.
And, of course, there are the rest but, hopefully, given all the excellent choices in the first three categories, there really isn't any great need to go there too often.....
So, given the huge choice we already have, and the fact that that choice includes some exceptional products, we don't need any more synth apps do we?


Cakewalk's Z3TA+ synth for iOS.... Do you need it?
Well, no, perhaps we don't 'need' another synth app and, if you are a dedicated music app junkie (and, please, don't add denial to your list of weaknesses), then you probably have an iPad full of synth apps, many of which might be gathering virtual dust. But 'want' another synth app....? Ah, 'want' is another matter....   Of course, we 'want' another synth app....   in fact we 'want' another synth app so badly, that most of us should be attending Appaholics Anonymous....
.... and believe me....  if this sounds like you, or you are new to iOS music making and are still building your synth app collection, you really are going to 'want' Cakewalk's Z3TA+. This is not weird and wonderful, nor is it a workhorse. No, the Z3TA+ is up there in the top-set alongside the Thors and Naves of the iOS synth world. In short, Z3TA+ is an absolute gem of a virtual synth and, even at UK£13.99, it is going to sell by the bucketload....
....  and if you know you have an app weakness, then perhaps it's best just to stop reading now.....
History time

...  too late....   While Cakewalk are perhaps best known for SONAR – their PC-only desktop DAW – they do offer a number of other music products. These include the PC/Mac version of Z3TA+ 2, the latest desktop incarnation of their Z3TA+ virtual synth. In one form or another, this instrument has been around for over 10 years and, while it is perhaps difficult to talk about a virtual instrument obtaining 'classic' status, the Z3TA is certainly a candidate for that label.
As a desktop synth, the Z3TA+ has gained a loyal following and its powerful sound and flexible programming options – as well as a fairly modest price even in the desktop form (UK£79 for the full version) – means that you have probably heard it on countless numbers of commercial recordings.
Just as Propellerhead have done with Thor, Cakewalk have now ported the desktop version of the Z3TA over to iOS. This isn't their only iOS app though; they also have the rather interesting ScratchPad HD app that, if you like to build compositions from loops, is well worth a look.
R2D2 says hallo

So, aside from a name that sounds more like a character from Star Wars than a serious software synth, what are Z3TA+'s key features? Cakewalk describe the synthesis engine within Z3TA+ as 'waveshaping'; you get a large number of basic waveforms to serve as a starting point for the oscillators but you can do all sorts of interesting things to further 'shape' those waveforms to create a wider variety of basic tones.



The Z3TA+ is supplied with over 500 presets.... be prepared to see time disappear as you work your way through :-)
What's more, you can do this 6 times over as the engine offers six independent oscillators that can be mixed, matched and interlinked and then routed through two filters either in parallel or a dual mode. If fact, there is also a 'multi mode' for each oscillator where each single oscillator is stacked into four stereo oscillators that can be detuned. The potential for creating massive sounds is... er....  massive. As, of course, is the potential for chewing up massive amounts of your iPad's processing resources but I'll come back to that later.
The engine also includes six LFOs, the first four of which are applied across all voices (notes) while 5 and 6 apply on a per-voice (note) basis although, as each LFO can operate as two independent LFOs (which can be combined and interact in various ways), you could argue that you have 12 (!) LFOs to play with.
In addition, you get 8 envelope generators. Two of these are linked to pitch and amplitude while the others can be used for other purposes. These other purposes are defined within the comprehensive modulation matrix where you can define up to 16 modulation sources and have detailed control as to how and where those sources are applied. Needless to say, you will be not be short of choices on this front.
If all this isn't enough by way of creativity, add in a well-specified arpeggiator, a number of highly customizable effects options and an assignable X-Y pad and the Z3TA+ is obviously quite a tidy package.
Oh, and in iOS terms, don't forget to include Audiobus and IAA support straight out the box plus an included preset collection that runs to over 500 examples and takes a few hours to work your way through (although it is a lot of fun doing so).
Quick tour

As shown in the first screenshot above, the main user interface of Z3TA+ is split across three screens and these are accessed via the Synth, Mod/Arp and Effects tabs located top-left of the screen within the 'top panel' of the app. Other controls offered here include access to the preset system, a fader to set the output level, a limiter that you can toggle on/off and that is applied across the synth's main output and the 'options' menu where you can access a number of generic settings including an global effects bypass, tempo setting and the audio buffer size.


The Z3TA keyboard has a number of configuration options.
At the base of the screen you get the usual virtual keyboard. This can be scrolled so you can play in higher/lower octave positions and, by default, you also get virtual pitch and mod wheels displayed. This left-hand end of the display can be toggled between four states; 'off' (which allows you to see more keys), an X-Y pad (you can associated parameters to this via the Mod/Arp screen), the pitch/mod wheel and (via the keyboard icon) some settings for how these performance controls respond (including the Drift setting that allows you to simulate the tuning instabilities found in early analog synths; a nice touch if you are into that sort of thing).


You can choose to have the virtual keyboard run the full width of the screen if you prefer.
At the top-right of the keyboard section, the Scale button allows you to pick any key/scale combination (and there are lots of different scales offered) that will limit the virtual keyboard to only notes from that scale. This kind of feature is now included on lots of iOS synths and can be useful in reducing duff notes generated by touchscreen note entry. This strip also includes a Hold option so any notes played will be held on after you release them and until you tap the same note again.
Tune my engine

I've no intention of providing a comprehensive account of all the programming possibilities provided of the Z3TA+, even if you had the patience to wade through it all. However, if I perhaps highlight just a few of the elements that help make this such a powerful and flexible synth engine, then I'm sure you will get at least an impression of what is on offer.



The Synth page provides access to the oscillators, filters, envelopes and LFOs.
And if you do then decide to cough up and download the app, then Cakewalk include a well-written and detailed PDF reference manual that will fill in most of the blanks. This includes a helpful signal flow diagram so you can get a clear impression of how sound flows through the various elements of the synthesis engine. This same diagram is shown if you tap the app name that appears top-left of the screen when the app is running.
In terms of the oscillators, filters, envelopes and LFOs, everything is pretty much contained within the Synth tab. Selecting this tab fills the top two-thirds of the window with four sub-panels for these features. In the case of the oscillator, envelope and LFO sections, these themselves are 'tabbed' (for example, 1-6 to access the individual controls for the six oscillators). This is an obvious and sensible design choice but it does mean you have to ensure you are about to tweak controls for the correct oscillator/EG/LFO before you start to adjust settings.
There is plenty to keep even the most ardent of patch programmer busy here but, as an example, let's just look at the oscillator options in more detail. The first thing to say is that there are a huge number of preset waveform options available. These cover the usual saw, square and triangle types (with multiple individual waveforms within each broad group) but also other categories.



Z3TA+ has a whole range of waveform presets organised into several categories.
Once you have picked a waveform, you can then set the pitch (transpose and octave settings), its mode (again, there are various options that allow it to be used in standard/multi mode, key-sync'ed or free and fixed frequency (pitch doesn't follow the keyboard) and assign it to a 'group'. This last setting is actually more of a 'mode' and includes options for applying ring, sync, phase or frequency modulation.
You also get knobs for setting the fine tune and output level for the oscillator, while the third knob in this group changes depending upon settings elsewhere. For example, if the oscillator is set to run in 'Normal, Sync' mode, this third knob controls phase.
You can tap and drag within the waveform window to 'tweak' the waveform by hand if you wish. Equally, you can use the six rotary knobs that are positioned just below the waveform display to make more specific changes. In fact, you get more than six settings to play with here; the three tabs labelled A, B and C contain different sets of parameters you can adjust. Finally, you can set the balance of the oscillators output between the two filters.
Given that you have six of these very flexible and highly configurable oscillators to play with, it doesn't take a synth genius to work out that the possible combinations are extensive. The envelope and LFO sections are equally fully features and the filter section also provides plenty of options so, if your head doesn't explode first and you want a subject for your doctoral thesis on virtual synth programming, then Z3TA+ is a pretty good candidate.
All mod cons

Under the Mod/Arp tab, we get (surprise, surprise) settings for the modulation matrix (upper half of the screen) and the built-in arpeggiator (lower half of the screen). The modulation matrix offers 16 rows (split left/right across the screen into two rows of and you can set the modulation source, the range of variation, a curve (applied to the modulation), a control (another parameter that effects the modulation such as velocity, aftertouch or the mod wheel) and a destination (the synth parameter that is the target of the modulation process).

The Mod/Arp screen has some powerful options... but does require some nimble fingers.
It has to be said that, while very fully featured, there is actually a heck of a lot of options – and drop down menus – squeezed into quite a small amount of space here. My fingers (not porkers by any means) sometimes found this a bit of a challenge. I did, however, find it considerably easier using my Griffin stylus, mainly because my fingers were then not obstructing my view of the control I was trying to touch.
Incidentally, under the Control column, as well as being able to specify the pitch bend and mod wheel, you can also specify any MIDI CC number. You can, therefore, configure any additional hardware controllers you might have on an external MIDI keyboard to allow some further hands-on control during a performance. Indeed, I was able to do this relatively painlessly with my Alesis QX25 that I use with my iPad – although not as painlessly as a 'MIDI learn' feature makes this in many virtual instruments.
However, don't let this put you off too much. If you dig in here then there is a staggering array of possibilities. This is comprehensive and very well featured. Again, a programmer's delight.


There are a huge number of preset patterns for the arpeggiator.
The arpeggiator is perhaps less brain-melting in nature but still very flexible. Yes, it features the usual array of up/down/random algorithms that you can choose between but, in addition, there are also a large selection of MIDI-based patterns. These offer some very interesting options in terms of both the rhythmic nature of the resulting arpeggio as well as the specific notes generated and are just plain fun to explore. Stick a suitable lead synth patch on here and prepare to lose yourself for an hour or two :-) In addition, there are also some 'gated' arpeggiator patches (the effect is rather like a rhythmic noise gate).
As with most sophisticated arpeggiators, you can sync the pattern to tempo and to different tempo resolutions. In addition, there is a very effective humanize control for adding some nice personality to the end result. As with elsewhere in Z3TA+, the arpeggiator is powerful and flexible and perhaps the only (very) minor quirk, is that the switch to toggle it on/off is over in the Options menu rather than here on the Mod/Arp screen; an odd choice.

[Elantric]

Chain gang
If, after all these oscillator, envelope, LFO and modulation options, you feel the need for something a little less taxing, then flip over to the Effects tab. That's not to say that this doesn't offer you plenty of additional ways to spice up your sounds – it most certainly does – but it is perhaps a little more straightforward to get your head around.


The Z3TA+ is well stocked with additional effects and you can adjust the order in which these are applied.
On this screen, you get six sub-panels, one each for the distortion, modulation (in this case, modulation as in the sense of chorus, phaser, flanger, etc.), EQ, compression, delay and reverb. And, while position of these modules remains fixed within the window, using the final (7th) sub-panel on this tab (located mid-right of the screen), you can tap and drag to reorder the effects signal chain. This is great and, again, gives just that extra element of control that you don't get in all virtual synths.
The effects themselves are also far from shabby; these are no virtual stomp boxes with a couple of knobs to twist. Instead, you get plenty of options for shaping each effect. For example, the EQ provides a 7-band graphic format but the Mode option allows you to choose the center frequencies that these bands operate at. Equally, the Simulator options features around 30 amp, cabinet and other devices (for example, a radio) where the EQ response curve of the device is applied to your synth sound.
This is all very good stuff and, overall, I was more than impressed with the quality of the effects on offer. Even the reverb, which can often be a bit light-weight in some apps simply to keep processing demands down, sounded pretty smooth and offers plenty of options. Oh, and don't forget the 'master' limiter that can be toggled on/off up in the top panel.....
Test drive

So, if you have stuck with me so far, you know that Z3TA+ is fully featured as a programming environment with a multitude of oscillator, envelope, LFO, filter, modulation, arpeggiator and effects options. You are not short of a knob or two to twiddle with or some settings to play with.
All of which is great; but how does it sound? Well, as I implied at the very start of this review, personally, I think it sounds absolutely fabulous. I spent a very happy couple of hours browsing slowly through the huge preset collection and, yes, there were sounds I didn't perhaps like, but there were masses more that I did.


If your keyboard playing sucks as much as mine, then the Scale options are well worth exploiting.
What's really impressive, however, is the range of sounds that the Z3TA+ seems able to generate. Whether you want basses ('classic' or cutting edge), leads (mellow or aggressive), pads (subtle or not), percussive (synthetic kicks, snares, hats, etc.) or sound effects, the Z3TA+ has something (and usually several somethings) that will fit the bill. Perhaps the only selection that left me slightly underwhelmed was the 'keyboards'; Z3TA+ can certainly do electric pianos and organs (and there are a few excellent presets to demonstrate this) but given just how many presets are included overall, a few additional examples in this category wouldn't have gone amiss.
However, if you are into classic synth sounds or you want some cutting edge stuff for your latest dance track or even some subtle pads for your mellow ambience soundscapes, Z3TA+ will have plenty to offer. Sound for pound (or $), this is an absolute no-brainer.
Placed into the Audiobus Input slot, Z3TA+ behaved itself very nicely with Cubasis. I was easily able to record audio from the synth onto a Cubasis track and, equally, to send MIDI data to the app from Cubasis, although this did require some experimentation with selecting the correct MIDI output routing within Cubasis (selecting the Z3TA didn't seem to work but 'virtual MIDI' did). Operation within Cubasis through IAA also seemed to work pretty smoothly, although things were most certainly better on this front if I ensured I launched Cubasis prior to starting Z3TA+. Otherwise, all was good.


Z3TA seemed to work very smoothly within Audibus.
While working within Cubasis, I did keep an eye on the CPU meter when using Z3TA+ on my iPadAir test system. Even with a fairly busy mix running (over a dozen tracks of mixed audio/MIDI) and then playing a complex pad sound on Z3TA+, things never got so out of hand that I had any obvious glitching. That's not to say that more complex patches don't come with a sizeable CPU load; press lots of notes and I could watch the Cubasis CPU meter bounce quite easily into its upper reaches but, for simpler sounds (perhaps those using just a couple of oscillators), the meter barely raised a flicker. It's a shame that Cakewalk haven't included a 'CPU load' meter in Z3TA+ itself as I'm sure users would find this useful. Equally, a little bit of guidance in the iTunes description for Z3TA+ about likely performance on different generations of iPad would, I'm sure, be reassuring for potential purchasers.
All that said, on my iPad Air, I didn't run out of steam and the app behaved itself very well. And to repeat what I've already stated – it sounds great.
What's not to like?

So Z3TA+ is a programmer's delight and it sounds fabulous....  and it will sound fabulous even if you don't program; just load a preset and enjoy yourself. However, when you do decide you need to tweak, then do expect there to be a learning curve. This is perhaps not the synth to take your first tentative steps in a 'synth programming 101' course with.
What else might I say by way of warning? Well, not too much really....  Yes, that Mod/Arp window feels just a bit cramped and maybe separating this tab into two might actually provide a better experience on the iPad screen.


The Options menu provides access to some key settings.... but, as yet, nothing on the MIDI front.
In addition, the app is almost devoid of any MIDI settings (at least, not ones that I could find). This didn't stop me from connecting by external MIDI keyboard up – it just worked – so in that sense it was just one less thing to think about but, given the vagaries of iOS MIDI, the ability to configure your MIDI input routing and channel number really ought to be possible. Definitely one for a future update.
Equally, given that the synth engine has such a range of powerful options, a somewhat more friendly means of linking any hardware controls on your external MIDI keyboard/controller to particular Z3TA+ parameters would be welcome. I'm sure there are a number of different ways this might be approached but a 'MIDI learn' features would be a very useful addition.
These niggles are, however, pretty minor in nature compared to the many positives. As a first release (well, a first release in an iOS format anyway), Cakewalk have done a fabulous job with the Z3TA+. It is very well featured and – in my testing at least – remarkably trouble free in operation; all very impressive.
In summary

For my money, the Z3TA+ is up there with the very best that the iOS synth world currently has to offer. Better than Thor or Nave, my two other favourites when it comes top-end synths for iOS? I'm not sure I've spent enough time with it yet to form a clear opinion but, both sonically and in terms of programmability, it is most certainly in the same class. This is one heck of a virtual instrument; the fact that it is running on an iPad is almost immaterial.


The IAA support also seemed very solid.
Which brings us back to where I started; 'need' vs' 'want' :-)  If you own Thor (Nave is perhaps a somewhat different beast) already, then maybe you don't really 'need' Z3TA+. The two apps most certainly have their differences (Z3TA is better equipped in terms of effects, for example) but they have enough in common in terms of the sounds they provide that you could live with just one rather than both.
But then there is 'want'....  and if you are serious enough about your iOS synths that you already own the likes of Thor or Nave, then I suspect you will find the idea of not owing something as good as Z3TA+ rather irritating. App addict or not, this is a synth that any self-respecting iOS synth head is going to want to experiment with.
If you do hit the download button, will Z3TA+ eventually gather virtual dust in that corner of your app collection that rarely gets disturbed? I can't answer that question for you but, at a personal level, I'm already pretty sure the answer will be no. I don't need Z3TA+ but I know I'm going to want to use it again and again. Cakewalk's Z3TA+ is pure temptation for every iOS music app addict, particularly those with a fetish for synths. Resistance may be futile.....   :-)

Z3TA+ update – Cakewalk bring new MIDI features to their excellent iOS synth

http://www.musicappblog.com/z3ta-update/

There are some brilliant synth apps for iOS and, if there is one category of music app that is overflowing in its abundance, then this is it. Everyone will have their particular favourites depending upon the type of music they make and their personal preference for how complex (or not) they like their synth engines to be. Amongst my own personal choices are Thor, Nave and Arctic ProSynth but, more recently, since its release a couple of months ago, I've also been making plenty of use of Cakewalk's excellent Z3TA+.
I reviewed this app on its initial release and was hugely impressed with the sound. Equally, I was impressed with the balance struck between the depth of programming available and the clean and efficient user interface. However, as I noted in my original review, when it came to MIDI settings, they were few and far between; you didn't even have the ability to set a MIDI channel number let alone link a hardware controller to one of the synths virtual parameters. Yes, you could plug in your MIDI keyboard and play, but that was about it.
More MIDI please

As of today, Cakewalk have released the first significant update to Z3TA+ – bringing us v.1.1 – and, thankfully, the key additions to the app are in the area of MIDI support. At the most basic level you can now select a MIDI channel (or OMNI mode) so, if you happen to have other iOS synths running at the same time, Z3TA+ will no longer be in danger of picking up MIDI intended for them also.


Cakewalk have added a whole range of new MIDI features to Z3TA+
Also very welcome is the inclusion of a MIDI Learn facility. Rather wonderfully, this includes a preset system so, if you happen to use more than one hardware controller with your iPad, you can configure a 'controller preset' within Z3TA+ for each controller and just recall the required preset once your hardware is attached. I haven't yet had a chance to give this a through workout but the basic MIDI Learn feature is very nicely executed and worked without any issues using my Alesis QX25. However, the concept of different presets for different controllers is an excellent idea and it would be great to see in other iOS synths.
Clock wars

The update also includes support for MIDI Clock sync. In principle, this should allow you to ensure that the Z3TA+ arpeggiator locks to the tempo of whatever else is going on. I did try this in various ways using both Cubasis and DM1 as my MIDI Clock masters but – on my setup at least – I couldn't get this to work in any consistent fashion. I'm not saying I very surprised as MIDI Clock is still a bit of a minefield under iOS.


The new MIDI Learn feature is very nicely implemented and allows you to store presets for different external controllers/
When I get more time, I'll see if I can get MidiBus to help out... All that said, this is not such a biggie given that you can set the tempo within Z3TA+ to match the host and, if the problem does lie in Z3TA+ itself, hopefully Cakewalk will be in to tweak the code further before too long.
In summary

Even without fully-functional MIDI Clock, this is a very welcome update to Z3TA+. In giving the app more MIDI features, Cakewalk have dealt with the most obvious 'missing in action' feature from the initial release. Given the pedigree of the Z3TA line, where it is regarded as a bit of a 'classic' in virtual synth terms on the desktop, it's not surprising that the iOS version is also top notch. With the ability or now configure a hardware controller to drive the synth parameters, it now also becomes a much more realistic proposition for live use.
[/i]

[gumtown]

Z3TA+ has been my favourite soft-synth ever since ... (PC version)
Before my GK gear, I used to experiment with USB soundcard capture and polyphonic pitch to midi.
USB I/O MFX pedals like the GT-10 were great for that, with just the pedal for digital I/O to/from a laptop with pitch to midi, and soft-synths and back to the MFX pedal via the USB.

Used to be amazed at plucking a string and having an ARP/sequenced synth come out of the speaker.

Some of my favourite Z3TA+ 'one finger hold' sounds attached below.

[supernicd]

Cool sounds gumtown!

This synth is incredible.  My only real complaint with it is that some of the controls that don't have knobs or buttons are very fiddly.  For example changing the octave of an oscillator can be pretty frustrating.  They tried to implement a drag up/down behavior but to me it is more fiddly than having to click on it 8 or 10 times to get to the setting you want.

But all that aside, the sound sculpting possibilties are enormous and the sound is great!

Anyone tried this connected to the MIDI output of a VGuitar processor?

[GovernorSilver]

I downloaded it when it went on sale.  I was surprised how good some of the electric piano patches are. 

This one is decent from C5 down.  Used my Casio digital piano as a controller.

https://soundcloud.com/governorsilver/z3ta-electric-piano-demo