When I use the zeta, especially the Arp patches, I've noticed that some of the patches play in a "cycle" of sorts. Meaning that if I hold a chord, or even a single key on my midi controller, there a changes to the sound in the form of swells, velocity movements, additional sounds, etc. Like the patch travels in a large circle (like a flanger) with different elements to it, then it starts over again when the "circle" is complete. Hard to explain, but I'm sure most of you know what I mean.
 
Is there any way to turn this cycling off? I just want the initial sound I hear and for that sound to continue without morphing. Or is there a way to "lock" just a portion of the "cycle"? 
 
I have no idea what most of the dials on the synth do, as I just use ADSR for the most part. But it's frustrating when I find a really cool arp or pad sound at the onset, but then it just keeps changing throughout the "cycle".
 
Thanks so much.
 
~Jeff
 

The arpeggiator itself can be shut off/modified, but that is only part of your question. The complexity of the sound also comes from the Modulation Matrix and how many oscillators are used (and how they are synced with each other). On a cell here, but wanted to let you know your question does not have a cut-and-dry answer.

I agree with what mettelus said.  You would have to understand the oscillators and modulation matrix to figure out all the elements that are creating the movement. Then, if you did turn some of them off you might actually affect the initial sound that you want.
 
It is a worthwhile investment in your time to learn a synth or two enough to modify or program your own sounds if you are going to be using them in multiple projects.  If not, then just go through the presets an try to find one that is as close to what you are after as you can get.
 

reginaldStjohn
I agree with what mettelus said.  You would have to understand the oscillators and modulation matrix to figure out all the elements that are creating the movement. Then, if you did turn some of them off you might actually affect the initial sound that you want.
 
It is a worthwhile investment in your time to learn a synth or two enough to modify or program your own sounds if you are going to be using them in multiple projects.  If not, then just go through the presets an try to find one that is as close to what you are after as you can get.
 

Learn a synth? Geez, does this learning stuff ever end? I finally just learned to play an F#m7add9.
 
Well, I guess I'll go turn some dials and see what happens. At least you guys understood my question and know what I'm getting at. I was worried that my post would be a "what the hell is this guy talking about" thing.

No worries, I apologize that I was so short earlier, but Z3TA+2 is actually more complex than it looks on the surface.
 
Quick followup, and what I wanted to say initially. Digital Sound Factory has a nice overview video of Z3TA+2 (41 minutes), but IIRC the second half is more making sounds from scratch. A common comparison used for synths is to the human voice - oscillators are like vocal chords, and the filters are like your mouth. A lot of sound manipulation within any synth can be done by tweaking the Cutoff/Resonance alone (so when you get to a sound you like, start playing there). For what you are doing, disabling the arpeggiator and portions of the modulation matrix will get you more to the "raw synth" sound underneath, but the above video will shed some light on the different views within Z3TA+2 (it is actually a fairly complex synth to work with, so that video lets you see where everything is). Even with the Cutoffs/Resonators, there are 2 sets, which can be linked in a number of ways, so learning that UI is a big step to understanding its capabilites.

Unfortunately, the sound designers hired by most outfits try to produce presets that will sound INCREDIBLE when auditioned as solo sounds. They show off the capabilities of the synth when driven to the full Monty so that you will be SHOCKED AND AWED by the possibilities in the product. As you have apparently learned those full featured presets are less useful in a mix than you might first imagine. A good way to learn about the real capabilities of your synth are to load presets you find appealing and then to go into the synth parameters and try to remove the bullpucky. Learning how the designers messed with the basically good sounds they got to get to the ostentatious mud-makers that you get as presets can be a most instructive exercise for anyone learning to program a new synth. The first place to start is probably with any effects that are applied within the synth itself. Almost all of these are better left to the mix in the DAW, unless you want to confuse the brain of the listener by mixing a sound designed to imitate a reverberating cavern with an intimate single instrument placed dead center. 

I'm not a synth wizard, but I'll try to help anyway :).
 
1- Click on Arp and then disable it.
 
2- Go to LFO section, click on all LFO's (1, 2, 3, 4, 5 & 6) and turn down Amount of all of them to 0%.
 
3- Click on Effects, and then disable all fx.
 
Since you know your way to ADSR, then above steps should do the trick (I hope...)
 
Hope this helps!
 
EDIT: fixed "wyzard" typo LOL.

Great info! Thanks so much guys. One of the good things about home recording is there's always something new to learn. And once again, this forum comes through.