![]() It can be sync'ed to either an internal or MIDI clock, and like the envelopes it can be directed to multiple destinations.Ī top-panel knob marked Vintage progressively introduces fluctuations in the frequencies of the filter, oscillators and envelopes, to recreate the sound of vintage (and less stable) instruments.Īfter the analogue sound generation comes a digital effects section. Naturally, there's an LFO available for cyclic modulations, and this has a choice of five wave shapes: triangle, saw, reverse saw, square, and S&H. Velocity can be used to control envelope modulation amount, and filter envelope modulation is bi-polar. There are two envelopes available, each with five stages (ADSR plus delay), and each being routable to the amplifier, gate or filter (or any combination). ![]() In terms of its architecture, the Take 5 is pretty traditional, with the twin oscillators passing through a mixer (which lets you set the relative levels of osc 1 and 2, the sub-oscillator, plus a white-noise generator), and thence to a resonant, four-pole, low-pass filter, based on that of the Prophet 5 Rev 4. Oscillator 1 further features its own square-wave sub-oscillator. ![]() Each voice is powered by two analogue VCOs, each with variable wave shapes (sine, saw, and variable pulse), sync'ing of osc 1 to 2, optional keyboard tracking for both oscillators, and frequency modulation. Sequential have just released a compact, affordable, five-voice polysynth, called the Take 5.
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