Auto Pan in Rapture 1 or DimensionPro?

After selecting an effect it is enabled. The "off" to the right of the effect name is a filter for some of the effects. To adjust the autopan use the LFO section further to the right.
 
There is a very nice autopan plug-in called Sonitus:Surround in the Audio FX DirectX section

Hi Dave,
here is another tip about panning with z3ta+. http://forum.cakewalk.com/Question-about-Z3TA-m3021150.aspx 
I found it very usefull.
Instead of the the lfo you can chose, by the same synth settings, in the modulation matrix under source Random-B-Random.
 
B.r., Tomas

There's another slick method for auto-panning in Rapture, using the often-overlooked Global section.
 

• Load any wavetable in Multisamples in an Element, or any preset from the Browser.
• Click on the Global tab (next to E6).
• Load an effect or two in the Global FX 1 - Global FX 2 slots.
• Turn Status:On for Global Step Generator L & Global Step Generator R.

 

• Right-click over the steps in the Left Global StepGen and select Extract Shape From Sample File.
• Pick a wavetable that suits your auto-panning vision [000 - sine.wav, for example].
• Do the exact same thing for the Right Global StepGen.
• Right-click again over the steps in the Right Global StepGen, and select Reverse Step Levels.

 
Now you can adjust the Steps, Sync/Freq, Smooth, and Depth on each 'side' of the Global Step Generators to customize the overall synth auto-pan.  This is over-and-above the auto-panning that can be set up per-Element using the Pan LFO sections.

Here's an auto-pan / stereo tremolo technique that I use for guitar through an Eventide PitchFactor.  Of course, that will create pans between scale-constrained harmonies.  [How to do that in Rapture / Dim Pro / z3ta+ 2 is something that I'll save for another day.]  But the basic premise is to have one distinct sound in each channel, and alternate between them with an upstream auto-panner.
 
Initialize Program.
Load any wavetable into the E1 Multisample window [006 - triangle multi].
 
In the E1 AMP LFO:

• Status: On
• Freq: 0.50
• Sync: Off (dialed in, or left+right-click)
• Depth: 6.00

Mixer: E1 Pan to -100% (fully left)
Limiter: On
 
Right-click on the lit E1 button up top, and Copy Element.
Left-click on the E2 button up top, then right-click and Paste Element.
Click in the E2 Multisample window, and change to another wavetable [013 - pulse mk].
 
In the E2 AMP LFO:

• Click in the LFO waveform window for focus (right-click to get back to 0 - triangle).
• Hold Shift, and tap your right-arrow key 18 times (or Shift+drag about half a cycle).

Mixer: E2 Pan knob to 100% (fully right).
 
Now you have slow panning between two distinct timbres on the left & right.  We can emphasize the panning and adjust the rate with a few Modulation Matrix entries:
 
Click on the third icon of four [MIDI jack] to the left of the RAPTURE logo.

• Source -> MIDI CC -> CC127
• Destination -> LFO Depth -> Volume LFO Depth All
• Depth: 6.0

 
Repeat the Mod Matrix line above in a second Matrix line to increase the LFO depths by another 6 dB.
 

• Source -> MIDI CC -> CC1 (Mod Wheel)
• Destination -> LFO Freq -> Volume LFO Freq All
• Depth: 10.0

 
Now the depth of the pseudo-panning is increased, and the Mod Wheel varys the rate; somewhat like the speed control over a Leslie rotating speaker.  An increase of Depth in LFO Freq All to 20.0 or 40.0 blends the two timbres into an FM-like 'third' timbre.  With this basic setup, an identical change of of the mirrored LFO waveforms in E1 & E2 can provide a variety of panning effects:
 

• 1 - Sine = a smoother pan transition.
• 3 - Square = a hard-edged pan.
• 5 - Pulse = a variety of rhythmic effects by Shift+dragging one of the Amp LFO waveforms.
• Random Unipolar or Random Bipolar gives you unexpected but rhythmic timbre changes.
• Use any two identical or distinct LFO waveforms to invent your own composite pan LFO.

As with the technique using the Pitchfactor, you can mix down the outputs of Rapture / Dimension pro towards mono, but the timbral changes will remain.  In other words, the split to parallel happens in the synth or effect itself.