BUY SEQUENTIAL TAKE 5 MOD
BUY SEQUENTIAL TAKE 5 PATCH

BUY SEQUENTIAL TAKE 5 PATCH

I wish every small-scale keyboard had this feature.įinally, there is a patch memory of 128 user and 128 factory user slots and a preset button that, when off, sets the keyboard instantly to match the settings of each front panel control. In addition to the usual keyboard-octave transpose feature, low split mode divides the keyboard at the center C and drops the bass side one or two octaves allowing you to hold down the low end while still playing higher notes on the right-hand side. The Take 5 offers polyphonic glide, a vintage control that introduces old-school oscillator slop, hold control and possibly my favorite feature on this synth, low-split mode. Rather than being mediocre at covering multiple styles, the reverb has a signature tonality that I found quite useful and charming.

I especially liked the BBD and tape delays, and the reverb. While both sections may not replace your favorite outboard effects, each effect is highly usable. The second section is reverb offering a single signature reverb with real-time control of mix, damping, pre-delay, decay and tone. The first section can be set to chorus, flanger, phaser, digital high-pass filter, ring mod, a choice of four delays or rotary speaker. There are two digital effects sections, three if you count the standalone overdrive knob-great for roughing this synth up. Unison mode is quite lovely on the Take 5 with the option to add up to five voices with seven detune options, as well as a single-finger chord mode. There is no control of velocity or level, nor muting and tweaking as it plays. Each step/note is solely played from the keyboard, with the option of rests and ties. The arpeggiator offers multiple classic modes, a cool note repeat option and a three-octave range. Also, both offer a delay option to the onset of the envelope. This frees up Envelope 1 as an auxiliary modulation source.

While traditionally Envelope 1 controls the filter and Envelope 2 is the amp, you can set Envelope 2 to control both. LFO 1 is global, and LFO 2 can be used per voice. There is also well-implemented aftertouch and velocity sensitivity. Digitalĭiving into the digital side, you get two LFOs, two envelopes, two effects processors, a mixer with pink and white noise, an arpeggiator, 64-step sequencer, overdrive, glide, vintage mode, unison and clock/tempo control. I also like the large, super smooth filter knob, which makes it a joy to play and tweak with musical precision. To my ears, smooth, warm and rich define the overall sound of the Take 5. I may actually like its smoothness and warmth better. While very similar to past Sequential offerings, the analog filter is a tad more rounded and less biting in the extreme high-end than most of the Prophet family. 1), independent keyboard tracking for each oscillator and Frequency Modulation (FM) options. You also get hard sync, a sub-oscillator (on Osc. The analog oscillators are continuously variable from sine and sawtooth to various pulse width options. What you get is well chosen and smartly implemented.

Most controls are single function with minimal menu diving or internal features. The Take 5 is a Zen-like balance of features and economy. The VCF is an analog four-pole, resonant low-pass filter based upon Dave’s classic Prophet-5 Rev 4 filter. The Take 5 five-voice architecture sports two analog VCOs. Power is supplied with a conventional IEC main connector. You also get traditional MIDI I/O and USB. On the back, you will find 1/ 4 ” jacks for headphones, stereo output, sustain pedal and a footswitch.

BUY SEQUENTIAL TAKE 5 MOD

On top are 36 pots, 10 rotary encoders, a large filter knob, 50 backlit push buttons, a small alphanumeric display screen, and top located pitch and mod wheels. The 3.5-octave keybed is made by Fatar and features 44 full-size keys. It features an all-metal chassis with plastic molded end caps.

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