Additional Filter/Osc/Other Specifications Not Mentioned in Product Copy

[creativespiral]

Carson mentioned this on GearSpace... good info to have here:

1. Filter is SSI2140 ! - Great choice, filter inspired by Prophet 5 Rev1/2/4 

2. VCOs are SSI2130 - That's why we're seeing sine wave option... somewhat rare on VCO synths.   The oscillators are continuously variable... I am wondering if there's some triangle territory between Sine and Saw.   Sub osc below Osc1 is square, and there's sync and FM so this should be a pretty versatile 2+sub osc setup.   

3. FM is exponential.   Would have been cool to see through zero linear FM, but still nice to have exponential FM.  tbd whether the mod matrix is audio rate and additional audio mod capabilities.   

4. There are 16 Mod Slots.  Nice... that gives a lot of sound design depth.  Sources/Destinations to be revealed soon, with manual.   

[creativespiral]

@cbmd, @pym, @robotheart -  Are there multiple voice allocation options on Take 5?   Round Robin vs. Per Key, like on P5r4?   

Or is it just one of those?   Hoping this synth will have Per Key voice allocation option, as that will help to capture classic P5 character... with just 5 voices and vintage mode, this will make a pretty significant difference.   

[alexpen]

One thing that interesting me, does it have pan spread?
No dedicated knob, but maybe it is menu hidden?

[cbmd]

Voice allocation in the Take 5 is round robin.  Pan is available as a modulation destination.

The manual should be posted to our website by end of day today.

[alexpen]

cool, thanks!

[Quatschmacher]

Hey Carson and Pym, one thing that I was wondering about, if low split is enabled does that have any effect upon the voice stealing behaviour?

I was thinking that it would be cool if engaging low split inhibited the synth from stealing any held note in the lower portion. I imagine the most common use for low split would be single bass notes with 4-note chords in the upper section so it would be nice if a held bass note were given some priority in voice allocation when changing chords in the upper section.

[creativespiral]

Thanks for the info, Carson! 

Peter Dyer mentioned on FB Group:
https://www.facebook.com/groups/252639346629742

Take 5 has a Voices Mod Source (maybe called "Voice Spread" in the matrix?).   This is one of the requests I've been making / hoping for.   Awesome addition!... hopefully all future seq polys have this.   

You can route this new source to Pan destination to get stereo spread per voice.

In addition, this source is extremely useful if you want to roll your own vintage knob behavior via the mod matrix.  I do this on Polybrute, Deepmind, and Rev2 through the mod sequencer.  You can set up a few mod slots and specifically target the characteristics you want to have vintage style offsets on a per voice basis.   This means you can route per voice offsets to VCO Osc Intonation/Tuning/Shape, VCF Filter parameters, ENV ADR timings, VCA, and any other parameter in the mod destinations...  and get per-voice offsets for each, at the values/intensities you want for the patch.   Great for vintage voice character, and also great for modeling acoustic ensemble type of sounds.   

TBD what the specific +/- voice scaling pattern is for this source, and the specifics of the Vintage Knob macro, but I'm very happy to see this.   

[creativespiral]

Some other interesting nuggets from the manual:

The Low Split point can be set to whatever key you want... this is good, and does make the 44-keys more versatile, if playing two handed with a bass root or octave, and harmony/melody up high.   Appears its saved on a per patch basis.

Lots of alternate tunings / global tunings available.

Separate Osc 1 and Osc 2 polyphonic glide controls

Like on Pro 3, the Velocity on/off switch is a proportional 0-100% application of velocity to env amount.  This is sort of a blunt force option for velocity control, but you can use mod matrix Velocity routed to Env Amount to dial in a smaller amount of velocity. 

The LFOs do extend into the audio range... not specified exactly how fast they can go.   On the other side of things, Osc can be routed like an LFO, but at higher audio rate, and its unclear how low Osc 2 can go in pitch/freq with key tracking off.   Seems overall, a good amount of flexibility for the hardware design constraints.

Triangle is the only bipolar LFO, though you can use DC offset to make any of them bipolar, or to make the Triangle unipolar.

Poly LFO + Global/Mono LFO both can clock sync and have key reset / key sync options.

Unison does have selectable voice amount, and unison detune.

In digital effects, there's Tape Delay 1 and Tape Delay 2 modes... not sure I've seen those before.

Also, there is a High Pass filter in effects... while not as nice as Poly HPF like Prophet 6, its nice to have option here.

Arp has option to output arp notes via MIDI... this was added to Pro 3 a while back.

[LoboLives]

When split mode is engaged, I'm assuming there is voice allocation to determine how many voices each sound is getting?

[Quatschmacher]

When split mode is engaged, I'm assuming there is voice allocation to determine how many voices each sound is getting?

It’s just one sound, and from what I can gather, is basically just like playing a regular keyboard in two places reasonably far apart. I did ask earlier if there is anything which can override stealing in the lower portion as that would be quite a useful feature.

[LPF83]

Its unique to be able to have 2 low and 3 high...  It might be one of those quirky limitations that leads to certain tunes.  Would be cool to be able allocate amount of voice stealing in the low and high zone.  I adore limitations in instruments -- I believe they lead to creative solutions.  The circumstances of the instrument really define the outcome.
As weird as it sounds, when they released the OS update to allow for limiting the Prophet 10 to 5 voices, I was thrilled to have that option, but that's only because Poly-unison 2-voice mode automatically chops it to 5 notes.

I won't be suprised at all though if the T5 gets limited feature updates than their premium products.  Often in product engineering, that is typically of the trade offs in producing more affordable products.

[jm2c]

Hello,
first post here. I have a question about the specs - What are the output impedances of Take5's headphone and line outs?

I need this info because I am contemplating on using some guitar fx pedals with my new Take 5

thanks

[Autosynther]

Hello,
first post here. I have a question about the specs - What are the output impedances of Take5's headphone and line outs?

I need this info because I am contemplating on using some guitar fx pedals with my new Take 5

thanks

I think it safe to assume 10kohm-50kohm for line outs to work with mixers and such, and phones 50-500 ohm or so to drive phones caps directly.

But from what I encountered and saw in tests of pedals there are just certain dist and wah pedals that are sensitive to what drives it is high impedance passive pickups or not. Just about all BOSS pedals are low impedance buffered outputs so think risk is low to encounter such a pedal nowadays.

Otherwise there are reamping pedals like from Radial and others that serves the cause. I have found that using too high impedance inputs, like guitar pedal, from phones out does not always work well. They are made to drive low impedance stuff.

I have a Sennheiser Flex 5000 wireless phones from a laptop phones out, and it sounds crap unless I turn volume down to 15-20% or so on laptop. So bad design by Sennheiser there.