Compact 5-Voice Poly Synth

C O M PA C T 5 - V O I C E P O LY S Y N T H
®
User’s Guide
Version 1.0
August, 2021
Sequential LLC
1527 Stockton Street, 3rd Floor
San Francisco, CA 94133
USA
©2021 Sequential LLC

www.sequential.com
Tested to Comply
With FCC Standards
CLASS B
This device complies with Part 15 of the FCC Rules. Operation is subject to the
following two conditions: (1) This device may not cause harmful interference and
(2) this device must accept any interference received, including interference that
may cause undesired operation.
This Class B digital apparatus meets all requirements of the Canadian Interference-
Causing Equipment Regulations.
Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur
le materiel brouilleur du Canada.
For pluggable equipment, the socket-outlet must be installed near the equipment and must
be easily accessible.
For Technical Support, email: [email protected]
This device is to be serviced by a Sequential-qualified technician only. Service technician

must exercise due caution when opening the device to avoid electric shock and the device
being unsecured when open.
CALIFORNIA PROP 65 WARNING

This product may expose you to chemicals including BPA, which is known to the State of
California to cause cancer and birth defects or other reproductive harm. Though inde-
pendent laboratory testing has certified that our products are several orders of magnitude
below safe limits, it is our responsibility to alert you to this fact and direct you to:
https://www.p65warnings.ca.gov for more information.
THE SEQUENTIAL CREW
Art Arellano, Gerry Bassermann, Gus Callahan, Fabien Cesari, Bob Coover, Carson Day,
David Gibbons, Chris Hector, Tony Karavidas, Mark Kono, Justin Labrecque, Andy Lambert,
Michelle Marshall, Andrew McGowan, Joanne McGowan, Julio Ortiz, Denise Smith, Brian Tester,
Tracy Wadley, Gabby Wen, and Mark Wilcox
THE TAKE 5 SOUND DESIGN TEAM

Drew Neumann, Francis Preve, Gil Assayas (GLASYS), Huston Singletary, James Terris,
Julian Pollack (J3PO), Kurt Kurasaki, Matia Simovich, Paul Schilling, Peter Dyer, Robert Rich.
Special thanks to Robert Rich for the alternative tunings.
Take 5 User’s Guide v

A Few Words of Thanks
Thank you for purchasing the Take 5. Our goal with this awesome little synth was
to give you a very compact, very powerful instrument that you could take pretty
much anywhere and sound great. Whether it’s your first synth, your gigging
synth, or just the right synth to fit your studio space, we think you’re going to
love it. Yes, it’s compact, but it’s pure Sequential and it sounds huge.
So hook it up, turn it up, and start making music!
Cheers,
vi A Few Words of Thanks Sequential

Table of Contents
A Few Words of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi
Chapter 1: Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Rear Panel Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Setting Up the Take 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Tune the Oscillators and Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Listen to the Factory Sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Using the Main Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Editing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Creating a Program from Scratch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Saving a Program. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Canceling Save. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Live Panel Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Using Low Split. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Exploring the Take 5 in More Depth. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Chapter 2: Take 5 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Global Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Oscillator Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Additional Oscillator Parameters (Program Menu). . . . . . . . . . . . . . . . . . 19
Mixer Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Filter Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Additional Filter Parameters (Program Menu) . . . . . . . . . . . . . . . . . . . . . 22
Envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
About the Filter Envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Envelope Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Additional Envelope Parameters (Program Menu). . . . . . . . . . . . . . . . . . 27
About the Amp Envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Auxiliary Envelope. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Low Frequency Oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Global LFO Versus Per-Voice LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
LFO Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Additional LFO Parameters (Program Menu). . . . . . . . . . . . . . . . . . . . . . 33
Modulation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Modulation Examples. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Take 5 User’s Guide A Few Words of Thanks vii

Unison . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Using Chord Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Vintage Knob. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Overdrive. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Arpeggiator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Arpeggiator “Momentary Sustain” Mode. . . . . . . . . . . . . . . . . . . . . . . . . . 45
MIDI Note Output from the Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Arpeggiator Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
Clock Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Master Volume/Program Volume. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Transpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Hold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Glide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Glide Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Pitch and Mod Wheels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Pitch Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Modulation Wheel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Adding Aftertouch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Chapter 3: Creating Sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Synthesis 101: Synth Bass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Creating Synth Brass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Turning Synth Brass into a String Pad. . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Creating a Hard-Sync Lead. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
A Final Word. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Appendix A:
Modulation Sources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Appendix B:
Modulation Destinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Appendix C: Troubleshooting and Support. . . . . . . . . . . . . . . . . . 71

Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Resetting the Global Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Contacting Technical Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Warranty Repair. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
viii A Few Words of Thanks Sequential

Appendix D: Calibrating the Take 5 . . . . . . . . . . . . . . . . . . . . . . . . 75
Calibrating the VCOs and Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Calibrating the Pitch and Mod Wheels . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Resetting the Global Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
Importing Programs and Banks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Appendix F: Alternative Tunings. . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Take 5 User’s Guide A Few Words of Thanks ix

Chapter 1: Getting Started
The Take 5 is a compact and powerful 5-voice poly synth. It combines
the warmth and punch of two analog, voltage-controlled oscillators and a
Prophet-5 Rev4-lineage analog filter with an array of digital effects and
a host of modulation capabilities. The result is a classic, warm, organic-
sounding subtractive synth with a modern voice.
This chapter of your user’s guide provides an overview of essential tasks

such as how to make basic audio connections and how to edit and save
sounds. Later chapters explain each of the parameters of the Take 5,
as well as how to program sounds and how to use the global menu to
manage its overall behavior.
We’ve designed the Take 5 to be as easy to use as possible. Its essential

controls are within easy reach on its front panel, so don’t hesitate to dive
in and start turning knobs and pressing buttons. Then, when you’re ready,
dig into this user’s guide to explore the deeper parts of the synth.
Take 5 User’s Guide Chapter 1: Getting Started 1

1 2 3
Rear Panel Connections

The rear panel of the Take 5 has connectors for power, USB, MIDI,
audio, and pedals.
1. Power On/Off—This rocker switch controls power on and off to the

Take 5.
2. AC Power Connector—Accepts a standard, grounded IEC power

cord. Operates over a range of 100 to 240 volts, 50 to 60 Hz, and 14W.
3. Electric Shock Hazard Warning—These symbols warn that you risk

electrical shock if you open the Take 5 enclosure. Please do not open.
4. USB—For bidirectional MIDI communication with a computer. The

Take 5 is a Class Compliant USB device and does not require additional
drivers when used with Mac OS or Windows.
5. MIDI In, Out, Thru—Standard 5-pin MIDI DIN connectors for

communicating with MIDI-equipped devices.
6. Footswitch—Accepts a momentary, normally open or normally closed

footswitch to control sustain or to latch the Arpeggiator on when keys are
held.
7. Pedal—Accepts a standard expression pedal that has a variable resis-

tor on a TRS (tip-ring-sleeve) ¼ inch phone plug. Once connected, you
can use the modulation matrix to route the pedal to control a variety of
things such as volume or filter cutoff frequency to add expressiveness to
live performance.
2 Rear Panel Connections Sequential

4 5 6 7 8 9
8. Audio Outputs—Unbalanced, ¼ inch audio outputs. The Take 5

sounds great in stereo, but can be switched to mono if needed. See
“Global Settings” on page 10.
9. Headphones — ¼ inch stereo headphone jack. Headphone volume is

controlled by the master volume knob on the front panel.
Setting Up the Take 5

Here’s how to get your Take 5 up and running:
1. Plug the power cable into the power connector on the back of the Take 5.
2. If you have an expression pedal, connect it to the pedal jack on the
back of the Take 5. You can use it to control volume, filter cutoff, and
other aspects of a sound. If you have a sustain pedal, connect it to the
ftswitch jack on the back of the Take 5.
3. Turn on the Take 5.

4. Connect the left and right audio out connectors on the back of the
Take 5 to your amp/mixer/powered speakers using unbalanced, ¼ inch
audio cables.
5. Turn up the volume on your amp/mixer/powered speakers.
6. Turn up the volume on the Take 5.
Take 5 User’s Guide Setting Up the Take 5 3

Tune the Oscillators and Filters
The first time you use the Take 5, run its built-in oscillator and filter cali-
bration procedure. Repeat the calibration procedure if needed over the
next few days. The Take 5 learns the range of temperatures and will keep
itself in tune over this range.
To calibrate the oscillators and filters:
1. Press the global settings button.

2. With the select knob, choose the cal voices command.
3. Press the write button.
4. The Take 5 performs its auto-calibration procedure. Don’t turn off the
power while it’s doing this.
5. When finished, the front panel controls return to normal and you can play
the Take 5.
Listen to the Factory Sounds

The Take 5 contains 256 programs. These are divided into two sets of 128
programs — a Factory set and a User set.
• When the factory button is lit, the 128 permanent Factory programs
are active. These cannot be overwritten.
• When the factory button is not lit, the 128 User programs are active.
you can freely edit and resave these. As shipped from the factory, the
Factory and User presets are identical.
Most factory programs have a sequence associated with them. A quick and
easy way to audition programs is to press the Sequencer’s play button to hear
its associated sequence.
The Bank and Program Select controls
4 Setting Up the Take 5 Sequential

To choose a program:
1. Hold down the bank button then press a program selector (1-8)
button to specify the “hundreds” bank of the program.
2. Release the bank button and press a program selector button (1-16)
to select one of the 16 presets in the chosen bank.
To choose program 512, for example:
1. Hold bank and press 5. Release the bank button.

2. Press program selector button 12.
Using the Main Display

The most frequently used controls on the Take 5 are on its front panel.
But there are additional Global settings and Program-specific settings
accessible in its main display.
For example, pressing the program settings button gives you access to
several program-related parameters such as pitch bend wheel range,
unison detuning, envelope delay time, and more. You can select and edit
these additional parameters using select and value knobs located below
the display.
The select knob is for scrolling through the list of available parameters
and commands. The value knob is for setting values.
120 1/16
Basic Program
Up+Down BBD
The main display

Editing Programs
All of the sound-shaping controls of the Take 5 appear on its front panel.
To edit an existing program, just turn a knob and listen to its effect. Keep
turning knobs and pressing buttons and if you like what you’ve created,
save the program (see “Saving a Program” on page 6).
Creating a Program from Scratch

The Take 5 makes it easy to create a new sound from scratch by provid-
ing a “basic program” that you can quickly recall at any time. This
provides a simple starting point that you can quickly build on. It consists
of a single oscillator (sawtooth), basic filter settings, basic envelope
settings, and simple mod and pitch wheel setups.
To recall the Basic Program:
1. Press the global settings button.

2. With the select knob, choose the basic program command.
3. Press the write button.
4. The Take 5 resets its parameters to the Basic Program.
Shortcut for creating the Basic Program: Hold down the transpose down button
then press the low split -2 button.
Saving a Program
To save a program, you have to save it to the User bank. If you edit a Factory
program, saving the sound will save it to the User bank.
To save a User program to the same preset location:
1. Press the write button. The LED begins blinking.

2. Press the write button a second time. The LED stops blinking and the
program is saved to its current location.

To save a program to a different location:
1. Press the write button. Its LED begins blinking.

2. Hold down the bank button then press a program selector button to
specify the “hundreds” bank of the program.
3. Release the bank button and press a program selector button (1-16)
4. Press the write button again. The LED stops blinking and the program
is saved.
Canceling Save
To cancel the Save process:
• If the write button LED is flashing, press the program settings button.
The LED stops flashing and saving is canceled. You can return to editing
if you want.
Live Panel Mode

The Take 5 also features a “live panel” mode in which its sound switches
to the current settings of its knobs and switches. In other words, the current
preset is ignored and what you see on the front panel is what you hear. This
is a great mode for learning, experimentation, and instant gratification.
To enter live panel mode:

• Press the preset button to toggle it off. Changing Banks or Programs
with Preset off won’t affect the sound.
To return to preset mode:
• Press the preset button again to toggle it on.

Using Low Split
The Take 5 has a useful feature called low split that allows you to make
wider use of its 44-note keyboard by dividing the keyboard into two
separate key ranges. You can set the split point to your preference.
In essence it enables you to transpose the lower half of the keyboard

either 1 or 2 octaves lower than normal.
By default the split point is set to middle C in the Basic Program, but you
can set it to a different point according to your preference. This makes it
possible to play lower-register bass parts with your left hand while play-
ing chords or lead parts with your right hand. The program is the same
for both key ranges.
To use Low Split:
1. Chose an appropriate sound.

2. Press the -1 oct button to activate the Low Split point feature and
transpose the pitch of notes below middle C down by 1 octave.
3. Alternatively, press the -2 oct button to activate the Low Split point
feature and transpose the pitch of notes below middle C down by 2
octaves.
To set a custom Low Split point:
1. Chose an appropriate sound.

2. Press and hold both the low split -1 oct button and -2 oct button. The
Low Split parameters appear in the display.
3. Either press the desired key/split point on the Take 5 keyboard, or use
the value knob to set the split point to your preference.
4. Release the -1 oct button and -2 oct buttons.
120 LOW SPLIT 1/16

Note G1
Up+Down BBD
Setting the Low Split point

Exploring the Take 5 in More Depth
Before you explore the sound creation possibilities of the Take 5, we’d
like to point you toward a few things that will help you tailor it to your
needs. The better you know it, the more you’ll get out of it.
First, read “Global Settings” on page 10. There are many useful
settings and functions found in the Global menu that will affect the
overall behavior of your Take 5, including tuning, MIDI connections,
calibration, and more. In particular, read about Pot Modes and determine
which works best for you when you’re editing sounds.
Also, in “Rear Panel Connections” on page 2 read about the various

connectors on the back of your Take 5 and how you can use its various
pedal, audio, MIDI, and USB inputs and outputs.
Finally, be on the lookout for tips and notes scattered throughout this
manual to gain a better working knowledge of the Take 5. We wish you
many hours of musical exploration!
Take 5 User’s Guide Exploring the Take 5 in More Depth 9

Chapter 2: Take 5 Controls
This chapter explains all of the front-panel controls of the Take 5,
section by section and the role each plays in synthesizing sounds. If
you’re just getting started with synthesis, take a look at Chapter 4,
Creating Sounds, for step-by-step tutorials on how to program some
classic sounds such as synth bass, brass, strings, and more.
Global Settings
Global settings are parameters that affect all programs. These include
settings such as MIDI Channel, Velocity and Aftertouch curves, and
others. Press the global button to access them.
press to
access 120 1/16
Global
menu Basic Program
Up+Down BBD
Accessing Global settings
To set a Global parameter:
1. Press the globals button.

2. Use the select knob to scroll through the list of parameters.
3. Use the value knob to set a selected parameter.
Here are descriptions of all of the global menu parameters:
1. Master Coarse: -12…+12—Master Transpose control; a setting of

0 is the equivalent of concert pitch. This control steps in semitones one
octave up (+12) or down (-12).
2. Master Fine: -50…+50—Master Fine Tune control; 0 centered. Steps

in cents as much as a quarter-tone up (+50) or down (-50).
10 Chapter 2: Take 5 Controls Sequential

3. Local Control: All Off, Key/Wheels Off, On—When on (the default),
the keyboard and front panel controls directly affect the Take 5. When
off, the controls are transmitted via MIDI but do not directly affect the
“local” synth (that is, the Take 5). This is primarily useful for avoiding
MIDI data loops that can occur with some external sequencers. When
key/wheels off is selected, the front controls are enabled (so that you can
edit them) but the keyboard and Pitch/Mod wheels are off.
4. Mono/Stereo: Stereo, Mono—The Take 5 defaults to stereo operation.

When set to Mono, this parameter defeats all pan settings and modula-
tion, effectively making each of the outputs a mono output.
5. Pot Mode: Relative, Passthru, Jump—The rotary controls on the Take

5’s front panel are a mixture of “endless” rotary encoders and potentiom-
eters or “pots.” The pots are identifiable by their lined knobs and limited
amount of travel. There are three pot modes to determine how the synth
reacts when the programmable parameters are edited. (Master volume is
not programmable, so these modes don’t apply.)
When set to relative, changes are relative to the stored setting. In Rela-
tive mode, the full value range is not available until either the minimum
or maximum value and the respective lower or upper limit of the pot’s
travel is reached.
For example, the Resonance parameter has a value range of 0 to 254.

Let’s say the physical position of the Resonance pot is 12 o’clock. If
you switch to a program that has a different Resonance setting and turn
the pot all the way up, it may not go to its maximum value. To get to the
maximum value, you first have to turn down until the value is at the other
extreme and the pot is at the limit of its travel (in this case, 0 and fully
counter-clockwise, respectively).
In passthru mode, turning the pot has no effect until after the edited
value equals the preset value (that is, until the edited value “passes
through” the stored value).
jump mode uses an absolute value based upon the position of the pot
when edited: turn a pot and the value jumps immediately from the stored
value to the edited value.
Take 5 User’s Guide Global Settings 11

6. Foot Function: Sustain, Arp Hold, Arp Hold Momentary—Sets the
function for the Sustain pedal input at the rear of the synthesizer. Select-
ing sustain chooses normal sustain pedal operation. Selecting arp hold
and pressing the sustain pedal causes the Arpeggiator to hold the current
arpeggio as if you had pressed the hold button on the front panel. Select-
ing hold mom (momentary) causes the Arpeggiator to sustain (even when
you release the notes on the keyboard) for as long as you hold down the
pedal. Releasing the Sustain pedal stops the Arpeggiator.
7. Pedal Polarity: Normal, Reversed—There are two types of pedals,

normally open and normally closed. Either type can be used with the
Sustain switch input. This setting allows you to accommodate both
models in case yours behaves in a way that is the opposite of what you
expect due to its polarity. Connect your pedal and choose the appropriate
setting based on its behavior.
8. Pedal Function: Breath CC2, Foot CC4, Exp CC11, LPF Full, LPF
Half—When you use an expression pedal connected to the pedal jack to
control filter cutoff, this sets the range of modulation sent. With lpf full
selected, an expression pedal connected to the filter jack will control
filter cutoff frequency within its full range of 0-1024 (fully closed to
fully open). With lpf half selected, an expression pedal connected to
the filter jack will control filter cutoff frequency within half of its range
(fully closed to half open).
9. Aftertouch On: On, Off—Selects whether aftertouch (key pressure) is

enabled or disabled. If disabled, the Take 5 will neither respond to nor
transmit aftertouch/key pressure data.
10. Aftertouch Curve: Curve 1... Curve 8—Sets one of eight pressure
curves for the keyboard to adjust the aftertouch to your playing style.
11. Velocity Curve: Curve 1... Curve 7—Sets one of the seven velocity
curves for the keyboard to adjust the velocity response to your playing style.
12 Global Settings Sequential

12. Scale (Alt Tuning): Equal Temperment, 1…65—Selects one of the Take
5’s 65 built-in tunings. Set to 1. equal temperment, the tuning is standard,
chromatic tuning. Choosing 2 through 65 selects an alternative, non-chro-
matic, non-Western scale that can be used to emulate ethnic instruments or in
other creative ways. See “Appendix F: Alternative Tunings” on page 78 for
a description of each tuning. Additional tunings can be imported as a SysEx
message.
13. Screen Saver: On, Off—The Take 5 display has a built-in screen
saver that puts it to sleep when not in use. This feature is designed to
prolong the life of the display and we recommend using it. If, however,
you want to disable this feature you can do so by setting it to off.
14. MIDI Channel: All, 1…16—Selects which MIDI channel to send and
receive data, 1 to 16. Choosing all receives on all 16 channels.
15. Clock Mode Out: Sets the synthesizer’s ability to send and receive
MIDI clock messages:
• off: MIDI Clock is neither sent nor received
• out: MIDI Clock is sent, but not received.
• out no s/s
(no start and stop): Sends MIDI Clock but does not send
MIDI Start or Stop commands.
• in: MIDI Clock is received, but not sent.
• in thru: MIDI Clock is received and passed to MIDI Out
• in no s/s
(no start and stop): Receives MIDI Clock but does not respond
to MIDI Start or Stop command.
With in and in thru modes, if no MIDI clock is present at the selected input, the
Arpeggiator and Sequencer will not function.
16. Clock Cable In: MIDI, USB—Sets the port (MIDI or USB) by which
MIDI clock is received.
17. Clock Cable Out: MIDI, USB, ALL—Sets the port by which MIDI
clock is sent.

18. MIDI Param Send: Off, CC, NRPN—Changes to the values of front
panel controls are transmitted via MIDI as Non-registered Parameter
Number (NRPN) controllers or as Continuous Controllers (CC). Trans-
mission of parameters can also be turned off.
NRPNs are the preferred method of parameter transmission, since they cover
the complete range of all parameters, while CCs are limited to a range of 128.
19. MIDI Param Receive: Off, CC, NRPN—Sets the method by which
parameter changes are received via MIDI. As with transmission, NRPNs
are the preferred method.
20. MIDI Control On: Off, On—When On, the synth will respond to
MIDI controllers, including Pitch Wheel, Mod Wheel, Pedal, Breath,
Volume, and Expression.
21. MIDI Sysex On: On, Off—Sets whether MIDI System Exclusive data
will be received or ignored.
22. MIDI Sysex Cable: MIDI, USB—Sets the port, MIDI or USB, by
which System Exclusive data will be transmitted and received.
23. MIDI Out Select: Off, MIDI, USB, All—Sets the port(s) by which
MIDI data will be transmitted.
24. MIDI Program Send: Off, On—When On, the synth will transmit
MIDI Program Change and other SysEx messages to the MIDI Out.
25. MIDI Program Receive: Off, On—When On, the synth will respond
to received MIDI Program Change and other SysEx messages.
26. MIDI Arp Notes: Off, On—When On, the synth’s Arpeggiator outputs
MIDI note numbers. You can use this feature to drive other MIDI-
equipped devices such as synthesizers and drum machines.
27. Arp Beat Sync: Off, Quantize—When set to quantize, Arpeggiator

note playback occurs only on the beat (relative to the current clock divide
setting) regardless of when you press a key on the keyboard.

28. Basic Program—Press write to load a basic, template program into
the edit buffer. Press the Write button again to save it to memory. As a
shortcut, press the transpose down and latch buttons simultaneously.
29. Cal Wheels—Calibrates the Pitch and Mod wheels.
30. Cal Voices—Calibrates the voltage controlled oscillators and filters.
31. Reset Globals—Sets the global parameters to the factory default

settings.
32. Dump Preset—Transmits the current program in SysEx format via

the selected MIDI port. Dumped programs will load back into the same
location in memory when imported back into the synth via MIDI.
33. Dump Bank—Transmits the current bank in SysEx format via the
selected MIDI port. (See “MIDI SysEx Cable: on page 14.) Dumped
banks will load back into the same location in memory when imported
back into the synth via MIDI.
34. Dump All Banks—Transmits all User Banks in SysEx format via the
selected MIDI port. (See “MIDI SysEx Cable: on page 14.) Dumped
banks will load back into the same location in memory when imported
back into the synth via MIDI.

Oscillators
Oscillators generate the raw building blocks of the Take 5’s sound by
producing waveforms, each of which has its own sound character based
on its harmonic content. The Take 5 has two analog, voltage-controlled
oscillators and a sub-oscillator.
Oscillators 1 and 2 generate sine, sawtooth, and pulse waves. You can
vary the shape of these waveshapes from one to another using the shape
knob. This allows for a variety of different waveshapes and timbres.
Pulse wave wide Pulse wave narrow
Oscillator pulse width (pulse wave)
pulse
sine wide
sawtooth
pulse
OSC 1
narrow
OSC 2
The Oscillators section

To listen to the oscillators:
1. Press the global button.

2. Use the select knob to navigate to the basic program command, then
press the write button to set the synth to the Basic Program.
3. In the basic program, only Oscillator 1 is audible. (The levels of Oscil-
lator 2 and the Sub Oscillator and Noise are set to zero in the Mixer by
default.)
4. Hold down a note on the keyboard and in the oscillators section,
turn the shape knob left and right to hear the waveshape change from
sine to sawtooth to pulse. (Sawtooth is selected by default in the basic
program.) Note that when using shape with the pulse wave, it’s possible
to make the pulse width so narrow that the sound “disappears.”
5. Turn up the level of Oscillator 2 in the Mixer and experiment with
setting each oscillator to a different waveshape. Experiment with the
pitch knob on the oscillators and notice how slightly detuning the oscil-
lators in relation to each other creates movement and thickness in their
combined sound. Try tuning one oscillator to an interval such as a third,
a fifth, or a sixth.
6. Experiment with the octave knob on the oscillators and notice how
setting each oscillator to a different octave influences their combined
sound.
7. Rotate the filter’s cutoff and resonance knobs to see how this affects
the sound of the oscillators.
8. With Oscillator 1 and 2 on, press the sync button on Oscillator 1, and
set it’s octave to +2. Then rotate the pitch knob on Oscillator 1 while
you hold a note. This is the classic hard sync sound that you’ve prob-
ably heard before. Instead of rotating the pitch knob by hand, you can
use the modulation matrix to route an envelope to Oscillator 1 to sweep
the oscillator’s pitch and create this effect each time you play a note.
You’ll learn more about the mod matrix in “Modulation” on page 34.

Oscillator Parameters
Octave: Sets the base frequency of an oscillator over a 5-octave range. The
global master coarse and master fine settings affect the pitch of the
oscillators. See “Global Settings” on page 10 for more information.
Pitch: Fine tune control with a range of 7 semitones (a major 5th) up or

down. The 12 o’clock position is detented.
Shape: Selects the waveshape generated by the oscillator. Oscillators 1

and 2 produce sine, sawtooth, and pulse analog waveshapes. These wave-
shapes are continuously variable.
In the modulation matrix you can use a modulator such as an LFO

waveshape or one of the Take 5 envelopes to modulate the waveshape
of Oscillator 1 or 2 or both simultaneously, this changes the “pulse”
width of the selected waveform, which modifies its harmonic content and
timbre. To learn more about about how to use modulation, see “Modula-
tion” on page 34.
Sync 2-1: Off, On—Turns on oscillator hard sync. When an oscillator is

hard synced, its wave cycle is forced to conform to another oscillator’s
wave cycle and is forced to reset each time the master oscillator’s wave
cycle restarts. This causes the synced oscillator to create harmonically
complex waveforms — particularly when the synced oscillator’s pitch is
set higher than the master oscillator’s pitch. See “Creating a Hard-Sync
Lead” on page 65 to learn how to set up a classic oscillator hard sync
sound.
Oscillator 1
Oscillator 2
Oscillator 1
synced to
Oscillator 2
Oscillator hard sync

Additional Oscillator Parameters (Program Menu)
Additional oscillator parameters are accessible by pressing the front-
panel program button and scrolling through the list that appears.
Osc 1 Key Follow: Off, On—When on, oscillator 1 tracks the keyboard
or note data received via MIDI. When off, the oscillator plays at its base
frequency setting, though its pitch may be affected by modulation from other
sources.
Osc 2 Key Follow: Off, On—When on, oscillator 2 tracks the keyboard
or note data received via MIDI. When off, the oscillator plays at its base
frequency setting, though its pitch may be affected by modulation from other
sources.
Osc 1 Glide: 0...127—Sets oscillator 1 glide (portamento) amount. Glide

causes the pitch of a note to glide smoothly up or down from the pitch of
the previously played note. It can be set independently for each oscilla-
tor. Low values are shorter/faster. The glide switch must be on to hear
the effect of glide rate. For a detailed explanation, see “Glide” on page
52.
Osc 2 Glide: 0...127—Sets oscillator 2 glide (portamento) amount. Glide

causes the pitch of a note to glide smoothly up or down from the pitch of
the previously played note. It can be set independently for each oscillator.
Low values are shorter/faster. The glide switch must be on to hear the
effect of glide rate. For a detailed explanation, see “Glide” on page 52
Osc 1 Fine Freq: Fine tune control with a range of 7 semitones (a major
5th) up or down. The 12 o’clock position is centered.
Osc 2 Fine Freq: Fine tune control with a range of 7 semitones (a major
5th) up or down. The 12 o’clock position is centered.

Mixer
The Mixer section is where you set the levels of the various sound gener-
ators on the Take 5. These include oscillators 1 and 2, the sub oscillator
and the noise generator. You must turn up at least one of these sources
in order to make sound with the Take 5. Alternatively, you can make the
filter generate its own sine wave by turning up resonance all the way so
that it self-oscillates.
OSC 1 OSC 1 SUB
OSC 2 NOISE
The Mixer section
Mixer Parameters
Osc 1: Sets the output level of oscillator 1.
Osc 1 Sub: Sets the output level of the sub oscillator.
Osc 2: Sets the output level of oscillator 2.
FM 2 -1: When on, applies frequency modulation from Oscillator 2

to Oscillator 1. The Oscillator 2 level knob controls the amount. Use
frequency modulation to create complex harmonics and metallic textures
by tuning Oscillator 2 to different intervals.
Noise: Sets the output level of the white/pink noise generator. Rotating
the knob clockwise from 0 increases the level of white noise. Rotating
the knob counter-clockwise from 0 increases the level of pink noise.

Filter
The function of the filter is to subtract frequencies from the sound
produced by the oscillators and noise generator, thereby changing the
overall harmonic content of the synth’s sound. This change is varied over
time using the Filter Envelope to produce more dynamic timbres.
The Filter section
To hear the effect of the filter:
1. Recall the Basic Program by pressing the global button and using the
select knob to navigate to the basic program command, then press
write.
2. Hold down a note and rotate the filter’s cutoff knob. Notice how it cuts
the high frequencies as you rotate counter-clockwise, making the sound
of the oscillator less bright. If you turn the cutoff knob fully counter-
clockwise you’ll filter out all frequencies and hear nothing.
3. Return the cutoff knob to its halfway position, hold down a note again
then turn the resonance knob about halfway up.
4. Rotate the filter’s cutoff knob again and listen to the sound change as a
band of frequencies near the cutoff is amplified. This is how to create a
classic resonant filter sweep.
In the previous example, you controlled the filter cutoff by hand. In most
cases, you will use the Filter Envelope to do this. To learn more about the
Filter Envelope, see “About the Filter Envelope” on page 24.
Take 5 User’s Guide Filter 21

Filter Parameters
Cutoff: Sets the filter’s cutoff frequency.
Resonance: Emphasizes a narrow band of frequencies around the cutoff

frequency. High levels of resonance can cause the filter to self-oscillate
and generate its own pitch.
Drive: Increases signal input to the filter, boosting volume and adding
harmonic saturation and warmth. The effect of Drive can be subtle
depending on the amplitude and harmonic content of a signal.
Additional Filter Parameters (Program Menu)

Additional Filter parameters are accessible by pressing the front-panel
program button and scrolling through the list that appears. The parameter
explained below does not appear on the front panel.
Key>LPF Freq: 0...127—Sets the amount of modulation from the

keyboard to the filter’s cutoff frequency. Any setting above zero means
that the higher the note played on the keyboard, the more the filter opens.
This is useful for adding brightness to a sound as higher notes are played,
which is typically how acoustic instruments behave. When set to zero,
keyboard filter tracking is off, meaning that filter frequency is unaffected by
playing higher or lower notes on the keyboard. When set to 127, the filter
will track in half-step increments, which can be useful if you are using
the filter to generate a pitch through self-oscillation.
22 Filter Sequential
Envelopes
The Take 5 has two 5-stage envelope generators (attack, decay, sustain,
release, plus delay). They are useful for creating modulation that varies
over time according to the shape of the envelope. Routing an envelope to
Filter Cutoff, for example, causes the filter to open or close according to
the contour of the envelope. Routing an envelope to Amplifier causes the
volume to change according to the contour of the envelope.
Similarly, using one of the envelopes as an auxiliary envelope and rout-

ing it to a different destination in the mod matrix allows you to apply
modulation that changes according to the contour of the envelope.
There are many creative ways to use the Envelopes:
• Use the mod matrix to route Envelope 1 or 2 to one of the oscillators’

fine (pitch) parameter to create the classic “pitch blip” effect used in
many synth lead sounds.
• Use the mod matrix to route Envelope 1 or 2 to one or both of the
oscillators’ shape parameter to make their timbre evolve according to
envelope’s contour.
• Use the mod matrix to route Envelope 1 or 2 with a fast attack and
short decay to noise (level) to add a percussive attack to a sound.
(Noise should be set to zero in the Mixer.)
Using the Env Routing Button to Assign the Envelopes

The env routing button provides a way to assign the envelopes to
specific destinations. Pressing the env routing button toggles through the
various options.
ENV 1
Filter
Aux
ENV 2
Amp
Filter+Amp
Filter+Gate
ENV ROUTING
Take 5 User’s Guide Envelopes 23

Env 1 Destinations:
• filter - Envelope 1 controls Filter Cutoff frequency

• aux - Envelope 1 functions as an auxiliary envelope that can be used
to modulate a destination selected through the Mod Matrix. The Aux
setting is available when Env 2 is set to filter + amp or filter + gate.
Env 2 Destinations:
• amp - Envelope 2 controls the Amplifier (loudness)

• filter + amp - Envelope 2 controls both Filter Cutoff frequency and the
Amplifier (loudness). Note that if the Env 2 velocity button is on, it
affects only Filter Cutoff and not Amplifier volume.
• filter + gate - Envelope 2 controls Filter Cutoff frequency while
Amplifier volume is simply triggered (gated) on/off each time you
press a key on the Take 5 keyboard. Note that if the Env 2 velocity
button is on, it affects only Filter Cutoff and not Amplifier volume.
About the Filter Envelope

Routing Envelope 1 or 2 to the Filter shapes the harmonic characteristics
of a synthesized sound by giving you filtering control with each of the
envelope stages (attack, decay, sustain, release).
A filter envelope is one of the most important aspects of a synthesized

sound. Without an envelope, the filter would be static and unchanging. It
would stay open or closed by a fixed amount that wouldn’t change over
the duration of a sound. That’s not very expressive or interesting to listen
to — and it’s not how most real-world instruments behave.
In general, sounds produced by an acoustic instrument are brighter at their

beginning (the attack stage) and grow mellower as they die out (the decay
and release stages). In other words, their harmonic content changes over
time. This is exactly what the filter envelope is designed to emulate.
ENV 1
Filter
Aux
ENV 2
Envelope 1 parameters
Amp
Filter+Amp
Filter+Gate
ENV ROUTING
24 About the Filter Envelope Sequential
release
sustain
attack
decay
amplitude
delay
time
noteDADSR
A typical 5-stage on envelope note off
To hear the effect of the Filter Envelope:
select knob to navigate to the basic program command, then press
write.
2. Hold down a note and rotate the filter’s cutoff knob to set it to an
8 o’clock position.
3. Play a note. At this point you may not hear anything because you’ve
closed the filter significantly.
4. In the Envelopes section, turn the amount knob of Env 1 (which is
routed to the Filter by default) to a 3 o’clock position.
5. Play a note. Notice how the sound has changed. The Filter Envelope is
controlling filter cutoff by the amount you set with the amount knob.
6. Repeatedly strike a note on the keyboard as you turn the Filter Enve-
lope’s decay knob clockwise and counterclockwise. Notice how it
changes the sound as the note decays faster or slower after its initial
attack stage.
7. Now experiment with the Filter Envelope’s attack knob. Notice how
the attack becomes faster or slower.
8. Now hold down a note and experiment with the Filter Envelope’s
sustain knob. This controls how wide the filter stays open while you
hold down a key on the keyboard.
Take 5 User’s Guide About the Filter Envelope 25

9. The Filter Envelope’s release parameter acts in conjunction with the
Amplifier Envelope (Envelope 2 by default), so to hear its effect, first
set the Amp Envelope’s release value to a 1 o’clock position.
10. Now repeatedly strike a note on the keyboard as you turn the Filter
Envelope’s release knob clockwise and counterclockwise. Notice how
the note fades out faster or slower as you change the release value.
11. Continue experimenting with various Filter Envelope settings while
you adjust Envelope 1’s amount knob. Notice how greater amount
settings amplify the effect of the envelope on the filter.
As noted above, the Filter Envelope and Amplifier Envelope often work
in conjunction, with the Filter Envelope controlling how the filter opens
and closes and the Amplifier Envelope controlling how the Amplifier
controls the overall volume shape of the sounds you create. To learn
more about the Amplifier Envelope, see “About the Amp Envelope” on
page 27.
Envelope Parameters
Attack: Sets the attack time of the envelope. The higher the setting, the
slower the attack time and the longer it takes for the filter to open from
the level set with the filter cutoff knob to the level set by the filter enve-
lope amount. Percussive sounds typically have sharp (short) attacks.
Decay: Sets the decay time of the envelope. After a sound reaches the
filter frequency set at its attack stage, decay controls how quickly the
filter then transitions to the cutoff frequency set with the sustain knob.
The higher the setting, the longer the decay. Percussive sounds, such as
synth bass, typically have shorter decays (and a generous amount of low-
pass filter resonance).
Sustain: Sets the filter cutoff frequency for the sustained portion of the
sound. The sound will stay at this filter frequency for as long as a note is
held on the keyboard.
Release: Sets the release time of the envelope. This controls how
quickly the filter closes after a note is released.
Velocity On/Off: On, Off—Allows key velocity to influence filter cutoff

frequency. If on, the harder you play, the more the filter will open and the
brighter the sound will be. If off, key velocity will not affect the filter.
This control allows for more touch-sensitive sounds.
26 About the Filter Envelope Sequential

Amount: Sets the amount of modulation from the filter envelope to the
filter’s cutoff frequency. Any setting above zero means that each time
you strike a key, the filter envelope controls how the filter opens and
closes. Higher amounts more dramatically affect the cutoff frequency.
This control is bipolar. Positive settings produce standard behavior.
Negative settings invert the envelope.
Additional Envelope Parameters (Program Menu)

Additional Envelope parameters are accessible by pressing the front-
panel program button and scrolling through the list that appears. The
parameters below do not appear on the front panel.
Env 1 Delay: 0...127—Sets a delay between the time the envelope is

triggered (note on) and when the attack portion actually begins.
Env 2 Delay: 0...127—Sets a delay between the time the envelope is

triggered (note on) and when the attack portion actually begins.
About the Amp Envelope

After passing through the filters, a synthesized sound goes into an
amplifier, which controls its overall volume. The Amp envelope is used
to shape the volume characteristics of a sound over time by giving you
control over these stages. Along with the Filter envelope, this is one of
the most important aspects of a synthesized sound.
Without a volume envelope, the volume of a sound wouldn’t change

over the duration of a note. It would begin immediately, remain at its full
volume for its duration of the note, then end immediately when the note
was released. Again, that’s not very interesting sonically and it’s not typi-
cally how instruments behave in the real world.
To give you a real-world example, the main difference between the sound
of the wind and the sound of a snare drum is that they have very different
volume envelopes. Otherwise, they are essentially both white noise.
Wind has a relatively slow attack, a long sustain, and a long decay and
release. A snare drum has a sharp attack, no sustain, and very little decay
or release. But again, they are both fundamentally white noise.
Take 5 User’s Guide About the Amp Envelope 27

ENV 1
Filter
Aux
ENV 2
Amp
Filter+Amp
Filter+Gate
ENV ROUTING
Envelope 2 parameters
release
sustain
attack
decay
amplitude
delay
time
note on note off
A typical 5-stage, DADSR envelope
As noted previously, the Amplifier Envelope works in conjunction

with the Filter Envelope, with the Filter Envelope controlling how
the filter opens and closes and the Amplifier Envelope controlling
how the Amplifier controls the overall volume shape of the sounds
you create.
To hear the effect of the Amplifier Envelope:
select knob to navigate to the basic program command, then press write.
2. Repeatedly strike a note on the keyboard as you turn the Amplifier

Envelope’s attack knob clockwise. Notice how the attack becomes
slower and more gradual the further you turn the knob.
3. Reset the attack parameter to zero (fully counter-clockwise).
4. Next, repeatedly strike a note on the keyboard as you turn the Ampli-
fier Envelope’s sustain to zero. Notice how it changes the sound so that
the sound no longer sustains even if you hold down the key. The only
sound you hear is the decay portion of the sound.
5. Now, with sustain still set to zero, repeatedly strike a note on the
keyboard as you turn the Amplifier Envelope’s decay knob clockwise
and counterclockwise. Notice how it changes the sound as the note
decays faster or slower after its initial attack stage.
28 About the Amp Envelope Sequential

6. Set the decay parameter to 3 o’clock.
7. Finally, with decay set to 3 o’clock and sustain still set to zero, repeat-
edly strike a note on the keyboard as you turn the Amplifier Envelope’s
release knob clockwise. Notice how the release becomes longer the
further you turn the knob.
8. Continue experimenting with various Amplifier Envelope settings while
you also adjust the Filter Envelope to hear how these two controls
interact. You will understand how powerful the envelopes are and how
essential they are to designing sounds.
Auxiliary Envelope
Envelope 1 can be designated as an Auxiliary envelope using the front-
panel env routing button. By doing so, you can set its shape as you
wish and use the modulation matrix to route it to a specific modulation
destination to create modulation that varies over time according to the
shape of the envelope. Routing an envelope to an oscillator’s frequency,
for example, causes the oscillator’s pitch to rise and fall according to the
contour of the envelope.
Either of the Take 5’s envelopes can be routed to any destination (or multiple
destinations) using the modulation matrix. See “Modulation” on page 34 for more details.
There are many ways to make creative use of the Auxiliary Envelopes:
• Route an envelope to one of the oscillators’ osc 1 octv parameter to

create the classic “pitch blip” effect used in many synth lead sounds.
• Route an envelope to the filter’s cutoff parameter (in addition to the
standard Filter Envelope) to create a more complex filter envelope
shape.
• Route an envelope to one or more of the oscillators’ shape parameter to
make their timbre evolve according to envelope’s contour.
• Route an envelope with a fast attack and short decay to noise level to
add a percussive attack to a sound. (Noise should be set to zero in the
Mixer.)
Take 5 User’s Guide Auxiliary Envelope 29

Low Frequency Oscillators
LFOs are special-purpose oscillators that produce a frequency that is
typically below the range of human hearing (although these can actu-
ally extend into the audio range if set to their maximum frequency). The
LFOs are used for periodic modulation such as vibrato (periodic pitch
modulation) and tremolo (periodic amplitude modulation). They can also
be used as modulation sources for any of the many modulatable param-
eters in the Take 5.
The LFOs produce a variety of waveshapes, including triangle, sawtooth,

reverse sawtooth, square, and s&h (sample & hold/random). Though
most often used for low-frequency modulation, the Take 5 LFOs can actu-
ally function at speeds that extend into the audible range for extreme effects.
LFO 1: GLOBAL LFO 2: PER VOICE
CLK SYNC DEST CLK SYNC DEST
The Low Frequency Oscillators
The triangle wave is bipolar. That is, its waveshape is positive for half of its
cycle and negative for the other half. This makes it possible to generate a
vibrato that goes alternately sharp and flat in equal amounts on either side of
a center frequency.
The square, sawtooth, reverse sawtooth, and sample & hold (random)
waves generate only positive values. In the case of the square wave, this
makes it possible to generate trills.
30 Low Frequency Oscillators Sequential

Triangle Sawtooth Reverse Square Sample & Hold
Sawtooth
LFO waveshapes
The LFOs can be free-running or synced to the Arpeggiator, Sequencer, or

MIDI clock for tempo-synced effects such as filter sweeps, tremolo, and so on.
Global LFO Versus Per-Voice LFO

The Take 5 has two separate LFOs. LFO 1 is “global” and LFO 2 is “per
voice.” It’s useful to understand the difference:
Global LFO (LFO 1)

LFO 1 is a Global LFO and is a single modulator that is applied to all
voices in a program equally — with no variation from voice to voice. A
simple example of this is using LFO 1 to modulate Osc 1 Freq. Doing so
will change the pitch of all notes you play in exactly the same way and
with the same timing. In other words, if you play a chord, and strike each
note within the chord at slightly different times, the notes will shift their
pitch together in perfect sync with each other with no variation from note
to note/voice to voice. Compare this to the example given below for LFO
2, which is per voice.
Per-Voice LFO (LFO 2)

LFO 2 is a per-voice modulator that is applied to each voice individually,
and can vary from voice to voice. A simple example of this is using LFO
2 to modulate Osc 1 Freq. Doing so will change the pitch of all notes that
you play, but the modulation will be applied individually to each note. In
other words, if you play a chord, and strike each note within the chord at
slightly different times, each note will be modulated individually begin-
ning from the time it is struck, making the cycle of the pitch shift differ-
ent from note to note/voice to voice. It’s a subtle but noticeable difference.
Take 5 User’s Guide Low Frequency Oscillators 31

LFO Parameters
Frequency: Sets the frequency of the selected LFO from a slow .022Hz
to a fast 500Hz. This is affected by the clk sync (clock sync) parameter
as explained below.
Amount: Sets the amount of LFO modulation routed to the selected

destination. Setting an amount here applies the selected modulation
continuously. You can also use the modulation matrix to route an LFO
to additional destinations and use a different modulation amount if you
want.
Shape: Triangle, Sawtooth, Reverse Sawtooth, Square, S&H—This

button sets the waveshape of the selected LFO.
Clock Sync: When on, the LFO synchronizes with the master clock,
which controls the Arpeggiator, Sequencer, and certain effects such as the
various delays.
Destination: Various—Routes the selected LFO to one of the many

modulation destinations within the synthesizer. These appear in the
display. You can also use the modulation matrix to route an LFO to addi-
tional destinations.
There are many ways to make creative use of the LFOs:
• Route an LFO to the fine parameter of the oscillators to create vibrato

(triangle wave) or random pitches (s&h/random wave).
• Route an LFO’s triangle wave to the filter’s cutoff parameter and use
a medium freq and amount setting to create a wah-wah effect, or use
a slow freq setting and low amount setting to create subtle harmonic
movement.
• Route an LFO’s square wave to the amplifier’s amount parameter and
use a medium freq and amount setting to create a tremolo effect.
• Route an LFO to an oscillator’s shape parameter to make its timbre
evolve.
• Route the LFO’s triangle wave to the time parameter of the stereo delay
and use a slow freq and low amount setting to create a chorus effect.
32 Low Frequency Oscillators Sequential

Any LFO can be routed to any destination (or multiple destinations) using the
modulation matrix. See “Appendix B: Modulation Destinations” on page 69 for a list of
destinations.
Additional LFO Parameters (Program Menu)

Additional LFO parameters are accessible by pressing the front-panel
program button and scrolling through the list that appears. The param-
eters explained below do not appear on the front panel.
LFO 1 Reset: Off, On—When off, the LFO is free running. When on,
the LFO is re-started each time a new note is played. However, if the first
note is held and more notes are played, the LFO does not reset on the
newly played notes. LFO reset is useful if you want to ensure that the full
cycle of the waveshape is applied each time you strike a key.
LFO 2 Reset: Off, On—When off, the LFO is free running. When on,
the LFO is re-started each time a new note is played. wave reset is set
independently for each LFO. This is useful if you want to ensure that the
full cycle of the waveshape is applied each time you strike a key.
There is a shortcut for routing an LFO to a front-panel destination (provided

that the destination is a valid destination). Simply hold down the dest button of the
desired LFO, then move the knob or control you want to use as a destination (the filter
cutoff, for example). Set the amount using the LFO amount knobs. Be aware that not
all front-panel controls can be used as a modulation destinations.
Take 5 User’s Guide Low Frequency Oscillators 33

Modulation
Although the overall sonic character of the Take 5 is determined by its
oscillators and filters, much of its power to make unique sounds comes
from creative use of modulation. Modulation is the process of routing
one parameter (used as a control voltage) to another parameter in order to
change the way the targeted parameter behaves.
The Modulation assignment controls
The idea is simple:
1. Choose a source.
2. Choose a destination.
3. Set an amount. The amount can usually be either positive or negative.
Indicates mod slot number
120 MOD 1 1/16

source ModWheel M
amount 45 Indicates whether
destination Overdrive M a mod source/destination
is mono (M) or poly (P)
Up+Down BBD
select value
Use this knob to Use this knob to

scroll through set the mod source
mod slots and mod amount
source/amount/destination mod destination
34 Modulation Sequential
You already understand and apply the concept of modulation whenever
you use the filter envelope to control the filter’s cutoff frequency. In this
case, the modulation source is the filter envelope (or more precisely, any
of its controls, such as attack, decay, sustain, or release). The modulation
destination is the filter’s cutoff frequency. The modulation amount is set
with the Filter Envelope’s amount knob.
There are 19 different modulation sources and 54 different destinations to

choose from. This gives you a large number of sound-shaping options.
There are shortcuts for routing modulation to various front panel sources/desti-
nations. Simply hold down the source assign button and move the control you want to
use as a source (the Mod wheel, for example). Then hold down the destination assign
button and move the control that you want to use as a destination (filter cutoff, for
example). Set the amount with the value knob while referring to the display. Be aware
that not all front-panel controls can be used as a modulation source/destination.
Mono and Poly Modulation Sources/Destinations

There are two types of mod sources and destinations: mono and poly.
In general, you don’t need to think too much about which to use when
assigning modulation, but it’s useful to understand the difference.
• A mono modulation source, such as LFO 1: Global, is a single modula-

tor that is applied to all voices in a program equally — with no varia-
tion from voice to voice. Other mono mod sources include the Pitch
Bend wheel or Mod wheel, which can be used to control oscillator
frequency (pitch) or other aspects of a sound depending on how you
assign it in the Mod Matrix (in the display).
• A poly modulation source, such as Key Velocity, is a modulator that
is applied to each voice individually, and can vary in its amount from
voice to voice. A simple example of this is using key velocity to control
filter cutoff frequency per voice or the volume of individual voices
(Amp). Other poly mod sources include LFO 2, Envelope 1, Envelope
2, Note Number, and others. These can all be used to control things
such as the pitch of individual oscillators/voices, oscillator wave shape
per voice, and many other things.
Take 5 User’s Guide Modulation 35

Modulation Examples
Here are several modulation scenarios that illustrate how to use the modula-
tion matrix. The examples provide step-by-step instructions for clarity. Some
of these setups are built into the basic program, which you can recall from
the global menu.
To use the Mod wheel to add vibrato:

1. In the lfo section, set LFO 1 to triangle and set frequency to a
medium value. Set destination to osc all fine. Set amount to 0. (You
will control the amount with the Mod wheel.)
2. In the modulation section, press the source button. Use the select knob
to scroll to Mod Slot 1 if it’s not already displayed.
3. Use the value knob to scroll through the various mod sources and
choose mod wheel (As a shortcut for steps 2 and 3, you can hold down
the src assign button and move the Mod wheel.)
4. Use the value knob to set the amount to 30.
5. Use the value knob to scroll through the various mod destinations and
choose lfo 1 amt. (As a shortcut you can hold down the dest assign
button and move the LFO 1 amount knob.)
6. Hold down a note on the keyboard and turn the Mod wheel. You should
hear vibrato.
Use pressure as the modulation source instead of the Mod wheel in the previ-
ous example to add vibrato with key pressure/aftertouch.
To use the Mod Wheel to control the filter cutoff:

1. In the modulation section, press the source button. Use the select knob to
scroll to Mod Slot 1 if it’s not already displayed.
choose mod wheel.
choose cutoff.
4. Hold down a note on the keyboard (or press the hold button and play a
note on the keyboard) and move the Mod Wheel up and down.
36 Modulation Examples Sequential

5. Use the value knob to set the amount to your preference. Higher
amount settings cause the filter to open wider the farther up you move
the Mod Wheel. A negative amount setting will close the filter the
farther up you move the Mod Wheel.
Use pressure as the modulation source instead of the Mod Wheel slider in
the previous example to open the filter (positive amount) or close the filter (negative
amount) with key pressure (aftertouch.
Other modulation ideas:

• To create the classic “attack pitch blip” effect in many synth brass sounds,
choose a good two-oscillator synth brass sound. Set env 1 to aux and env
2 to filter + amp. In the Mod Matrix route env 1 osc 2 fine. Set env 1 to
Attack: 0, Decay: 9 o’Clock, Sustain: 0, and Release: 0 with an amount of
30.
• Route an LFO to pan to create an auto-panning effect. Panning width is
controlled by the modulation amount. Panning speed is controlled by
the LFO frequency. Add a second mod path to control the LFO speed
with the Mod wheel for a controllable rotating speaker spin-up/spin-
down effect. Add the rotating speaker effect as Effect 1 and set up a
third mod path to control fx1 mix with the Mod wheel for even better
results.
• Route velocity to overdrive to distort a synth lead sound the harder
you play.
Take 5 User’s Guide Modulation Examples 37

Unison
When unison is on, the Take 5 acts like a monophonic synthesizer in
that only 1 note can be played at a time. However, that one note can be
powered by as many as five voices, depending on how many you choose
to use.
To use Unison:
1. Press and hold the unison button.

2. With the unison switch held down, use the value knob to choose the
number of voices to stack, then release the Unison switch.
120 UNISON 1/16

4 Voices
Up+Down BBD
Setting the number of Unison voices
To detune the oscillators in Unison:
1. Press program settings button.

2. With the select knob, choose the unison detune command
3. Use the value knob to set the amount of detuning. A setting of 0 is
minimum detuning. A setting of 7 is maximum detuning.
120 PROGRAM 1/16

11. Unison Detune
3
Up+Down BBD
Detuning Unison voices
38 Unison Sequential
Using Chord Memory
Unison has a useful feature called chord memory. Instead of assigning
voices to a single note, hold down a chord on the keyboard and press the
unison switch. The Take 5 memorizes the notes of the chord. Single notes
played on the keyboard then trigger all notes of the stored chord, trans-
posing them as you play up or down the keyboard. Try using this feature
to create powerful chord stabs.
To use chord memory:
1. Hold down a chord on the keyboard (5 notes maximum).

2. Press the unison switch. The chord voicing is memorized. Play a few
notes to listen to the result.
3. If you save the program, the unison chord memory is saved with it.
To clear chord memory:

1. Turn off Unison.
2. Hold down a single note.
3. Press the unison button.
4. Save the program again.
Take 5 User’s Guide Unison 39

Effects
You can add up to two digital effects per program. The first effect can be one of
several classic device emulations, including various delays, chorus, flang-
ing, ring modulation, and others. The second effect is a dedicated reverb
with variable decay, pre-delay, damping, and tone. Effects are saved with
programs.
Effect Types
• Delay - classic stereo digital delay
• BBD - vintage bucket-brigade delay emulation
• Tape Delay 1 - vintage tape delay emulation
• Tape Delay 2 - vintage tape delay emulation with greater tape saturation
• Chorus - vintage stereo chorus
• Flanger - vintage through-zero flanger
• Phaser - vintage 6-stage phaser
• HP Filter - high-pass filter
• Distortion - classic op amp distortion
• Ring Mod - ring modulation
• Rotating Speaker - vintage rotating speaker emulation
• Dedicated Reverb (Effect 2) - plate reverb with variable time, tone, and
early reflections.
EFFECT TIME KNOB DEPTH/MIX KNOB FBACK/MISC KNOB
Stereo Delay Time Mix Feedback

BBD Time Mix Feedback
Tape Delay 1 Time Mix Feedback
Tape Delay 2 Time Mix Feedback
Chorus Rate Depth LPF Cutoff
Flanger Rate Depth Feedback
Phaser Rate Depth Feedback
High-pass Filter Frequency Mix Resonance
Distortion Gain Output Level Tone
Ring Modulation Pitch/Carrier Freq Mix Pitch Track On/Off
Rotating Speaker Speed Drive Mic Distance
40 Effects Sequential
To add an Effect:
1. Press the effect on/off button to turn it on.

2. Turn the type knob to select an effect. The effect name is shown in the
lower right of the main display. Names are abbreviated. For instance
“bbd” is the bucket-brigade delay. Refer to the previous list.
3. Turn the depth/mix knob clockwise to blend in the processed signal.
4. Use the time and feedback/misc knobs to adjust effect parameters. Refer to
the chart to see which parameters each of these knobs control
To add Reverb:
1. Press the reverb on/off button to turn it on.

2. Turn the mix knob clockwise to blend in the processed signal.
3. Use the decay knob to adjust the length of the reverb tail.
4. Use the pre-delay knob to adjust the pre-delay.
5. Use the tone knob to shape the frequency content of the reverb. The tone
parameter uses both high-pass and low-pass filtering to sculpt the reverb’s
sound.
6. Use the damping knob to adjust reverb damping (absorption of the high
frequencies of the reverb). Less damping allows high frequencies to decay
slower to create a brighter reverb sound. More damping darkens the sound
of the reverb.
Take 5 User’s Guide Effects 41

Vintage Knob
Because the Take 5 has analog VCOs and filters, it is capable of produc-
ing many classic, vintage poly synth sounds, even though it was designed
and constructed with state-of-the-art technology and components. To
add even more vintage character, we designed the vintage knob, which
introduces parameter variations from voice to voice. This type of behav-
ior was a big part of why vintage synths sounded so warm, organic, and
alive. Turning up the vintage knob adds progressively more variation
between voices. Try it out!
VINTAGE
The Vintage knob
To use the Vintage knob:
• Turn the vintage knob clockwise to add progressively more variation

from voice to voice.
42 Vintage Knob Sequential

Overdrive
The Take 5 has an Overdrive effect that is separate from the digital
effects available in the Effect and Reverb sections. A little Overdrive is
great for adding harmonic complexity and an aggressive edge to sounds.
The character of the Overdrive is affected by the harmonic content of a
program. Sounds with more high-end will sound different than sounds
with fewer harmonics.
OVERDRIVE
The Overdrive knob
To add Overdrive:
• Turn the overdrive knob clockwise to add progressively more of this

effect.
Arpeggiator
The Arpeggiator allows you to hold a chord and the synthesizer will play
a pattern based on the individual notes held. You can adjust the playback
mode (up, down, up+down, random, assign.), the octave range (1, 2,
or 3), the number of repeats per note, and the tempo. The Arpeggiator
usually works best on sounds with a fast attack.
While you hold down a chord, pressing any additional notes will add
those notes to the arpeggio. You can change chords and notes and the
arpeggio will continue to play as long as at least one note is always held.
You can also use the hold feature with the Arpeggiator. When you enable
hold, you can release the notes on the keyboard and the arpeggio will
continue to play — with any additional notes that you play added to the
arpeggio.
Take 5 User’s Guide Overdrive 43

To prevent the Arpeggiator from adding new notes to an arpeggio when keys
are continuously held (and instead start a new arpeggio each time you change notes),
turn arp relatch on in the Arpeggiator. To do this, press the program button and use the
select knob to scroll to the arp relatch parameter. Use the value knob to set it to on.
Set the tempo of the Arpeggiator with the tap tempo or bpm and divide
controls. To use tap tempo, tap this button 4 times to set the tempo. You
can also sync the Arpeggiator to external MIDI clock.
CLOCK ARPEGGIATOR STEP SEQ
BPM CLK DIVIDE ON OCTAVE RECORD
TAP TEMPO MODE REPEAT PLAY
The Arpeggiator
To use the Arpeggiator:
1. Press the Arpeggiator on/off button to turn it on.

2. Hold down one or more notes on the keyboard. The Arpeggiator plays
them according to the settings you’ve chosen.
3. To latch arpeggiation on (so that you don’t have to continuously hold
down notes) press the hold button.
4. In the display menu, adjust settings such as mode, octave range,
repeats, and bpm.
5. To synchronize a delay effect to the Arpeggiator, enable Effect 1, choose a

delay, then turn on sync in the delay’s parameter page in the display. Adjust
the delay’s time parameter as desired.
44 Arpeggiator Sequential
Arpeggiator “Momentary Sustain” Mode
The Take 5 allows you to use the sustain pedal to turn the Arpeggiator’s
Hold function on and off and perform other Arpeggiator-related func-
tions. To access this feature, use the foot function setting in the global
menu.
There are three modes to choose from:

• sustain - With the Arpeggiator running in this mode, pressing and
holding the Sustain pedal sustains the notes, as the Sustain pedal
normally would.
• arp hold - With the Arpeggiator running in this mode, pressing the
Sustain pedal once causes the Arpeggiator to hold the sequence (even
when you release the notes on the keyboard). Pressing it again stops the
Arpeggiator.
• arp hold mom - With the Arpeggiator running in this mode, pressing
and holding the Sustain pedal causes the Arpeggiator to sustain (even
when you release the notes on the keyboard) for as long as you hold
down the pedal. Releasing the Sustain pedal stops the Arpeggiator.
To select the Arpeggiator’s sustain pedal mode:
1. Press the global button then use the select knob to scroll to foot
function.
2. Use the value knob to select sustain, arp hold, or arp hold mom,
depending on your preference. Press the global button again to exit
the Global menu.
Take 5 User’s Guide Arpeggiator 45

MIDI Note Output from the Arpeggiator
The Arpeggiator outputs MIDI note messages. Any notes that you hold
on the keyboard will be arpeggiated according to the current settings of
the Arpeggiator and output over MIDI as MIDI notes. You can use this
feature to drive other MIDI-equipped devices such as synthesizers and
drum machines. To access this feature, use the midi arp notes setting in
the global menu.
To enable MIDI Note output from the Arpeggiator:
1. Press the global button, then use the select knob to locate the midi
arp notes parameter.
2. Use the value knob to select on.
To control an external MIDI device:
1. Connect the MIDI or USB output of the Take 5 to the MIDI or USB
input of the external device, depending on which type of connection
the external device requires.
2. On the Take 5, press the global button, then use the select knob to
locate the midi cable out parameter.
3. Use the value knob to select midi, usb, or all, depending on how your
Take 5 and external device are connected.
4. Press the global button again to exit the Global menu.
5. On the external device, set the the MIDI Channel and MIDI Receive
port to match the Take 5.
6. Hold down a chord on the Take 5 or start Sequencer playback. The
external device should be triggered by the arpeggiated or sequenced
notes.
46 Arpeggiator Sequential
Arpeggiator Parameters
Arpeggiator On/Off: This button turns the Arpeggiator on and off.
Arp Mode: Sets the order in which notes play when the Arpeggiator is on. The
setting appears in the lower left of the display. See the table below.
Arp Mode Behavior

Up Plays from lowest to highest note
Down Plays from highest to lowest note
Up + Down Plays from lowest to highest and back to lowest
Random Plays notes in random order
Assign Plays notes in the order the keys were pressed
Octave: 1, 2, 3—Set to 1, only the held notes are arpeggiated. Set to 2,

the held notes and the notes one octave above them arpeggiate. Set to 3,
the held notes and the notes one and two octaves above them arpeggiate.
Repeat: 1, 2, 3 —Set to off, each note in the arpeggio plays once. Set to
1, each note in the arpeggio plays twice. Set to 2, each note in the arpeg-
gio plays three times. Set to 3, each note in the arpeggio plays four times.
Relatch (in the Program Menu): Off, On—Works in conjunction with

hold. When hold and the Arpeggiator are on, and arp relatch is off,
played notes are held on and arpeggiated, with additional played notes
added to the held notes and the arpeggio. When arp relatch is on, played
notes are held on and arpeggiated, but additional played notes will restart
the arpeggio with the new notes. If you release all keys and play new
notes, the arpeggio restarts using the new notes.
Take 5 User’s Guide Arpeggiator 47

Clock Parameters
BPM: 30…250—Sets the tempo for the Arpeggiator in BPM (beats per
minute). The tap tempo LED flashes at the BPM rate. When sync is enabled
on the low-frequency oscillator, or enabled in the Effects section, the BPM
rate affects the LFO frequency and/or delay effect. When syncing to an exter-
nal MIDI clock source, the BPM setting has no effect.
Clock Divide—Selects a basic note value relative to the BPM. See the table
below:
Name Tempo Timing Division

1/2 BPM/2 Half note
1/4 BPM Quarter note
1/8 BPM x 2 Eighth note
1/8 T BPM x 3 Eighth note triplets
1/16 BPM x 4 Sixteenth note
1/16 T BPM x 6 Sixteenth note triplets
1/32 BPM x 8 Thirty-second note
64th BPM x 16 Sixty-fourth note
Tap Tempo—Pressing the tap tempo button 4 times sets the tempo. The
LED flashes at the BPM rate you set.
Step Sequencer
The step sequencer allows you to record a series of notes and chords of up
to 64 steps in length. You can record up to a 5-note chord on each step.
It records note and velocity data, but not timing. You can add ties and
rests after you have recorded the notes/steps. Once you have recorded a
sequence, you can play it back and adjust its playback speed with the bpm
control. You can also play along with a sequence (if there are voices avail-
able), and transpose its playback.
To program a note sequence:
1. Press the record button.

2. Play the notes of your sequence on the keyboard. The display indicates
the current step as you play.
48 Step Sequencer Sequential

When recording a chord as a step, as long as you continue to hold at least one
note down, you can keep adding notes to the chord/step, and even use the transpose
buttons to extend the keyboard range while doing it.
3. To add a rest as you play, press the program settings button for that
step, then continue playing. To add multiple rests, press the program
settings button multiple times.
4. To add a “tie” that extends the length of a note, play a note, then press
the write button repeatedly to extend the note for the number of steps
you want for that note.
5. When you’re done, press play to listen to your sequence. Use the bpm,
value, or tap tempo controls to adjust sequencer playback speed
6. To save the sequence, save the program and they are saved together.
If you want to play live along with the sequencer, be sure to leave voices avail-
able. In other words, don’t play 5-note chords for every step in the sequence!
To transpose a sequence:
1. Press play. The sequence begins playback.

2. Press and hold record and press a key on the keyboard. “Middle C”
is the reference point. Playing a note above middle C transposes the
sequence higher by that interval. Playing a note below middle C trans-
poses the sequence lower by that interval.
CLOCK ARPEGGIATOR STEP SEQ
BPM CLK DIVIDE ON OCTAVE RECORD
TAP TEMPO MODE REPEAT PLAY
The Sequencer and Clock controls
Take 5 User’s Guide Step Sequencer 49

Master Volume/Program Volume
The master output level of the Take 5 is controlled by the front-panel
volume knob. In addition, the volume of an individual program can be
set with the prog volume parameter in the program menu. This is useful
for ensuring that your sounds have roughly the same volume from
program to program.
120 PROGRAM 1/16

15. ProgVolume
127
Up+Down BBD
Setting Program Volume in the program menu
To set the volume of an individual program:
1. Choose a program.
2. Press the program button to the lower left of the display.
3. Use the select knob to locate the progvolume parameter.
4. Use the value knob to set the volume level.
5. Press the write button twice to save the program.
MIDI volume can also influence the overall volume of the Take 5 if you are
controlling it from an external MIDI source.
50 Master Volume/Program Volume Sequential

Transpose
The up and down buttons in the transpose section transpose the keyboard
up or down in octaves. The LED indicates the current keyboard trans-
position state. Transposing the keyboard also changes the MIDI note
numbers of the keys so that MIDI notes sent are also transposed. Trans-
pose settings are global and are not saved with individual programs. Note
that press one of the Transpose button won’t affect any keys currently
held down. It only affects keys/notes played after you have transposed
the keyboard.
The Transpose controls
Hold
When hold is on, any notes played will continue to play until hold is
turned off. When used in conjunction with the Arpeggiator, notes are
latched on.
The Hold button
Take 5 User’s Guide Transpose 51

Glide
Glide causes the pitch of a note to glide up or down from the pitch of the
previously
Instr 1 Instr 2
played note. Glide is turned on and off using the glide switch,
but the rate must also be set. If the glide button is on, but rate is set to 0,
glide has no effect. Glide can be set individually for each oscillator.
Press to enable Glide
The Glide button
To use Glide:
1. Press the glide button to turn Glide on.

2. Play a series of notes up and down the keyboard while you turn the
glide rate knob to adjust the amount of glide.
Glide Modes
There are four modes that determine how glide behaves. You can set
your preferred mode using the program menu.
Fixed Rate:The time to transition between notes varies with the interval
between the notes; the greater the interval, the longer the transition time.
The glide rate is fixed. This is the default glide mode.
Fixed Rate A: The same as Fixed Rate, but glide is only applied when
playing legato. That is, glide only occurs when a note is held until the
next note is played. This effectively allows glide to be turned on and off
from the keyboard. This mode is only available when Unison is on.
Fixed Time: Glide is set to a fixed time, regardless of the interval

between notes. This mode is only available when Unison is on.
Fixed Time A: The same as Fixed Time, but glide only occurs when
playing legato.
52 Glide Sequential
To select a Glide Mode:
1. Press the program button.

2. Use the select knob to locate the glide mode parameter.
3. Use the value knob to choose a glide mode.
4. Play a series of notes up and down the keyboard to hear the effect.
5. Once you’ve chosen the desired mode, press the write button twice to
save the program.
To set the Glide Amount separately for each oscillator:

2. Use the select knob to locate the osc 1 glide parameter.
3. Use the value knob to set the amount as you play a series of notes up
and down the keyboard to hear the effect.
4. Once you’ve chosen the desired amount of glide for oscillator 1, use
the select knob to locate the osc 2 glide parameter.
5. Use the value knob to set the desired amount of glide for oscillator 2 as
you play a series of notes up and down the keyboard to hear the effect.
6. When you’re finished, press the write button twice to save the
program.
Take 5 User’s Guide Glide 53

Pitch and Mod Wheels
The Take 5 has a spring-loaded Pitch wheel and a Mod wheel. You can
use these controls to enhance live performance by bending notes and
adding modulation in real time as you play.
PITCH MOD
The Pitch and Modulation wheels
Pitch Wheel
You can set a range in semitones for the Pitch wheel, depending on your
playing preference. The upward range is 12 semitones (1 octave). The
downward range is 24 semitones (2 octaves). Many musicians use a
range of 2 semitones (a whole step) since this is the bend range of many
acoustic instruments. For guitar whammy bar effects, you many wish to
set a wider range.
To set the pitch bend range:

2. Use the select knob to locate the pitch bend up parameter.
3. Use the value knob to choose a bend interval.
4. Hold a note and move the Pitch wheel to hear the effect.
5. Once you’ve set the bend up interval as desired, use the select knob to
locate the pitch bend down parameter.
6. Use the value knob to choose a bend interval.
8. Once you’ve chosen the desired mode, press the write button twice to
save the program.
54 Pitch and Mod Wheels Sequential

Modulation Wheel
The Mod wheel controls the amount of modulation for any program that
uses it as a modulation source. This allows you to “perform” modulation in
real time by moving the wheel. This is a great way to add expressiveness
to a sound or performance by using it to control vibrato, filter effects, and
potentially a lot more.
To choose a modulation destination for the Mod wheel:
1. In the modulation section, press the src assign button. Use the select
knob to scroll to Mod Slot 1 if it’s not already displayed.
choose mod wheel.
3. Use the value knob to to scroll through the various mod destinations
and choose a parameter (such as cutoff).
4. Hold down a note on the keyboard (or press the hold button and play a
note on the keyboard) and turn the Mod wheel.
5. Use the value knob to set the modulation amount to your preference.
Higher amount settings add greater modulation the further you push
the Mod wheel. A negative amount setting will apply modulation in the
negative direction.
As a shortcut, you can hold down the src assign button and move the Mod
wheel to quickly assign this modulation path.
Take 5 User’s Guide Pitch and Mod Wheels 55

120 MOD 1 1/16

source ModWheel M
destination Overdrive M a mod source/destination
Up+Down BBD
select value

Using the Mod Matrix to assign the Mod Wheel
Adding Aftertouch
Aftertouch is a performance feature that allows you to add modula-
tion to a sound by applying additional pressure to a key after the key is
already down. The greater the pressure applied, the more modulation
is applied. The Take 5 provides monophonic (or “channel”) aftertouch,
which means that applying pressure to any key within a chord will apply
modulation to all notes currently held.
The Mod Matrix lets you choose the amount of modulation applied
using aftertouch and also which parameters are modulated (oscillator
frequency, filter frequency, sand so on). You can set either a positive or
negative amount.
For example, if you select the filter cutoff as modulation destination

(cutoff), set a positive amount of pressure, then press a key harder, the
filter cutoff frequency will increase, making the filter open wider and the
sound become brighter.
Conversely, if you select the filter frequency as destination, set a

negative amount of pressure, then press a key harder, the filter cutoff
frequency will be lowered, making the filter close more and the sound
become more muted.
56 Adding Aftertouch Sequential

To choose aftertouch (pressure) as a source for modulation:
1. Press the mod button. The Mod Matrix appears in the display.
2. Use the select knob to scroll through the various mod sources and
choose pressure. (As a shortcut, hold down the src assign button and
press a key repeatedly to toggle through the available key-related mod
sources.)
choose a parameter (such as cutoff).
4. Hold down a note on the keyboard. Then, press harder.
6. Use the value knob to set the amount to your preference. Higher
amount settings add greater modulation the harder you press a key. A
negative amount setting will apply modulation in the negative direction.
The Take 5 provides eight different aftertouch/pressure response settings. The

default setting provides a linear response. To choose a different response curve, use
the aftertouch curve parameter in the global menu.
120 MOD 1 1/16

source Pressure M
destination Cutoff M a mod source/destination
Up+Down BBD
select value

Using the Mod Matrix to assign the pressure (aftertouch)
Take 5 User’s Guide Adding Aftertouch 57

Chapter 3: Creating Sounds
The Take 5 can produce a huge variety of sounds. While the factory
programs give you some idea of its scope, if you only make use of its presets,
you’re not really using the Take 5 to its full potential. The real excitement is
in creating sounds that are uniquely your own.
This chapter provides some brief tutorials. While there isn’t enough space
here to cover how to use every Take 5 function, the examples will help you
get familiar with some basic concepts.
Synthesis 101: Synth Bass

Many great synth bass sounds consist of a single oscillator, a bit of filter
resonance, the right envelope, and not much else. So start with the Basic
Program and go from there.
Short Version
To create a classic synth bass:

3. In the basic program, only Oscillator 1 is audible. (The levels of Oscil-
lator 2 and the Sub Oscillator and Noise are set to zero in the Mixer by
default.)
4. Repeatedly strike a note on the keyboard as you do the following and
listen to how the sound evolves:
5. Set Oscillator 1’s octave knob to -2.
6. Set filter cutoff to zero.
7. In the envelopes section, set Envelope 1’s amount fully clockwise.
8. Set filter resonance to a 9 o’clock position.
9. Play a low note on the keyboard. Instant synth bass!
10. Experiment with Envelope 1 (the Filter Envelope) amount and decay
settings to fine tune your synth bass sound.
58 Chapter 3: Creating Sounds Sequential

Long Version with Explanations
Here’s a more detailed version that provides insight into the process.
You’ll start with the Basic Program, then learn how to choose an appro-
priate oscillator waveshape, how to use the filter, how to use the enve-
lopes, and how to use Unison to fatten things up.
In the Basic Program, only Oscillator 1 is audible. Its waveshape is set to

sawtooth and its level is 127 in the mixer.
To start with the Basic Program:

Each of the oscillator’s waveforms have their own unique sound:
• The sawtooth waveform is a good starting point for sounds because it

has plenty of harmonics. This gives you a lot to work with in terms of a
raw sound that you can filter and modulate.
• The pulse (square) wave is a good starting point, too, but sounds differ-
ent than the sawtooth, because of its different harmonic content. The
sawtooth has even and odd-numbered harmonics and the square wave
has odd-numbered harmonics. (Google this if you want to learn more.)
• The sine wave has no harmonics. It’s useful used alone for its pure
tone, or in combination with another oscillator or sample(s) to reinforce
the fundamental pitch of a sound and add weight.
To listen to the various oscillator waveshapes:
1. In the oscillators section, the Sawtooth waveform is selected by

default. Play and hold a note, then turn the shape knob to step through
the various waveshapes.
2. Select the sawtooth waveshape.
Next, you’ll use the filter to shape the raw sound of the sawtooth wave.
Take 5 User’s Guide Synthesis 101: Synth Bass 59

To adjust the filter:
1. Press and hold down a key and turn the filter’s cutoff knob. Notice
how it cuts the high frequencies as you rotate counter-clockwise,
making the sound of the oscillator less bright. If you turn the cutoff
knob fully counterclockwise you’ll filter out all frequencies and hear
nothing.
2. Return the cutoff knob to its 12 o’clock position.
3. Repeatedly strike a note and turn the resonance knob about halfway up.
Notice how the sound changes as a band of frequencies near the cutoff
is amplified.
4. Rotate the filter’s cutoff knob again and you’ll hear a classic resonant
filter sweep. You’re going to use this to create your synth bass.
5. Set the filter cutoff to zero.
6. In the envelopes section, set Envelope 1’s amount fully clockwise. This
will cause the Envelope 1 (the Filter Envelope) to modulate (open) the
filter as much as possible according to the shape of the envelope (its
attack, decay, sustain, and release settings).
7. Set filter resonance to a 9 o’clock position. This gives the synth bass its
funky “zap.”
8. Play some low notes and listen to the sound. Classic synth bass.
To tweak the sound:
1. Experiment with the Filter Envelope’s amount knob. Notice how

greater amount settings amplify the effect of the envelope on the filter.
2. Repeatedly strike a note on the keyboard as you turn the Filter Enve-
lope’s decay knob clockwise and counterclockwise. Notice how it
changes the sound as the note decays faster or slower.
3. Experiment with the Filter Envelope’s cutoff knob.

4. The Filter Envelope’s release parameter acts in conjunction with the
Amplifier Envelope. In other words, you can’t hear a long release on
the filter envelope if the amplifier envelope is short! So to hear the filter
envelope’s release parameter in action, set the both the Filter Envelope
and Amp Envelope’s release values to an 11 o’clock position.
60 Synthesis 101: Synth Bass Sequential

5. Now repeatedly strike a note on the keyboard as you turn the Filter
Envelope’s release knob clockwise and counterclockwise. Notice how
the note fades out faster or slower as you change the release value.
Now you know how to create a simple synth bass program using the
most essential synthesizer components of the Take 5: the oscillators, the
filters, and the envelopes. Using just these three things you can create an
enormous variety of sounds. Keep experimenting with them and if you
like what you’ve created, save the programs in one of the user banks.
(See “Saving a Program” on page 10.)
Creating Synth Brass

Here’s another easy-to-construct sound: synth brass, with a classic “pitch
blip” effect on the attack. In this example you’ll learn how to use an
auxiliary envelope to modulate the pitch of oscillator 2 to simulate an
aggressively blown horn effect.
To create synth brass:

3. In the mixer, turn Oscillator 2 fully clockwise to maximize its volume.
(Osc 1 is already at full.)
4. In the oscillators section, adjust the pitch knob on Oscillator 2 to
slightly detune it and thicken the sound.
5. In the filter section, set cutoff to a 9 o’clock position.
6. Set resonance to a 10 o’clock position.
7. Set envelope 1’s, amount to a 3 o’clock position.
8. Set envelope 1’s, attack to 10 o’clock, decay to 10 o’clock, sustain to
11 o’clock, and release to 10 o’clock.
9. Enable touch sensitivity by pressing and enabling the velocity button.
10. Play some chords and listen to the sound. Classic synth brass.
11. Use the vintage knob to make the brass sound even more organic by
adding parameter variations from voice to voice.
Take 5 User’s Guide Creating Synth Brass 61

To add a “pitch blip” to the brass sound:
1. In the mod section, press the source button.

2. Use the select knob to scroll to Mod Slot 3 if it’s not already displayed.
choose env 1.
4. Use the select knob to to the value field then use the value knob to set
it to +5.
5. Use the select knob to scroll to the destination field then use the value
knob to choose osc2 fine.
6. Play some notes in the upper range of the keyboard. Classic synth
brass!
7. Experiment with different envelope amount and decay settings.
120 MOD 3 1/16

source Env 1 P
amount +5
destination Osc2Fine P
Up+Down BBD
select value

62 Creating Synth Brass Sequential

Turning Synth Brass into a String Pad
It’s a simple matter to turn the previous synth brass sound into a string
pad by simply adjusting its envelope and filter settings.
To turn the synth brass into a string pad:
1. Remove the pitch blip effect by setting the env1 to osc2 fine value to 0.
2. In the filter section, set the cutoff to 12 o’clock.
3. In the env 1 (Filter) section, set the amount to 2 o’clock
4. Set env 1 (Filter) attack to 2 o’clock, decay to 2 o’clock, sustain to 2
o’clock, and release to 12 o’clock.
5. Set env 2 (Amp) attack to 2 o’clock, decay to 2 o’clock, sustain to 5
o’clock, and release to 12 o’clock.
6. Play some chords. You’ve now got a good basic string pad.
Making the String Pad More Lush

Now lets make the string pad more lush by using the LFOs to modulate
the oscillator waveshapes and recreate the classic “pulse-width mod”
strings found on many vintage synths.
To use waveshape mod to make the string pad more lush:
1. On Oscillator 1, set the shape knob to 2 o’clock (square/pulse wave).

2. On Oscillator 2, set the shape knob to 2 o’clock (square/pulse wave), as
well.
3. In the Mixer section, set the osc 1 sub knob to 1 o’clock.
4. On lfo 1: global press the dest button and using the controls in the
display, set the destination to osc1 shp (Oscillator 1 shape).
5. Set the amount parameter to +8.
6. On lfo 1: global, set frequency to 10 o’clock.
7. Next, On lfo 2: per voice press the dest button and using the controls
in the display, set the destination to osc2 shp (Oscillator 2 shape).
8. Set the amount parameter to -39.
9. On lfo 1: global, set frequency to 9 o’clock.
10. Play some chords and listen to the sound.
Take 5 User’s Guide Creating Synth Brass 63

You are now modulating the waveshape of each oscillator differently.
This gives the sound more animation. Try experimenting with different
LFO frequency and amount settings.
Adding Effects to the String Pad

You can enhance the string pad adding an effect such as chorus, flanging,
or phasing for a retro feel.
To add effects to the string pad:
1. In the effect section, press the on button.

2. Turn the type knob and choose phaser.
3. Set time to 8 o’clock.
4. Set depth/mix to 12 o’clock.
5. Set feedback/misc to 12 o’clock.
6. Set depth/mix to 12 o’clock
7. Play some chords. Retro string machine! For even more dramatic phas-
ing, set depth/mix and feedback/misc to 3 o’clock.
8. Experiment with changing the effect to the flanger or chorus and adjust
their settings to your preference.
Adding Reverb to the String Pad

Adding reverb can also enhance the string sound in a very lush way.
To add Reverb to the string pad:
1. In the reverb section, press the on button.

2. Turn the mix knob to 10 o’clock.
3. Set damping to 2 o’clock.
4. Set predelay to 2 o’clock.
5. Set decay to 3 o’clock.
6. Set tone to 11 o’clock.
7. Play some chords. Experiment with the decay, predelay, and tone
settings to fine tune the reverb sound to your preference.
64 Creating Synth Brass Sequential

Creating a Hard-Sync Lead
Here’s another classic sound: a hard-sync lead. A famous example of this
is “Let’s Go” by the Cars (performed on a Prophet-5). In this example
you’ll learn how to hard-sync the oscillators, pitch-modulate one of them
with an auxiliary envelope, then add effects.
To create a hard-sync lead:

3. In the mixer, turn up Oscillator 2 to 127. (Osc 1 is already at 127.)
4. In the oscillators section, set both oscillators to sawtooth.
5. Enable the sync 2-1 button. (See page 19 for an explanation of hard
sync.)
6. Set Oscillator 1’s octave to 1. This will allow for a wide range of pitch
modulation in step 9.
7. Set Oscillator 2’s octave to -2. This will help create a more aggressive
hard-sync effect.
8. In the envelope section, set the envelopes to env 1: aux and env 2
filter + amp. This will allow you to use Envelope 1 as an auxiliary
envelope that will modulate the pitch of oscillator 1.
9. Press the mod button. In the display, use the select knob to choose env
1 as the source.
10. Set the amount to 127.
11. Set the destination to osc1 fine.
12. This routes Envelope 1 to modulate Oscillator 1 pitch according to its
ADSR (attack, decay, sustain, release) settings.
13. Set Envelope 1 (Aux) to attack: 9 o’clock, decay 2 o’clock, sustain
9 o’clock,, and release to 12 o’clock,. This will set the amount and
“shape” of the modulation.
14. Play some notes. Classic hard-sync lead!
15. Experiment with Envelope 1’s Attack, Decay, Sustain, and Release
settings to better understand how these affect the shape of pitch modu-
lation routed to Oscillator 1.
Take 5 User’s Guide Creating a Hard-Sync Lead 65

120 MOD 3 1/16
source Env 1 P
amount +127
destination Osc1Fine P
Up+Down BBD
select value

Adding Effects to the Lead

You can enhance the sync lead by adding some delay and reverb.
To add effects:
1. In the effects section, press the effect 1 button.

2. Use the type knob to select delay.
3. Set time to 12 o’clock.
4. Set depth/mix to 9 o’clock.
5. Set feedback/misc to 9 o’clock.
6. Play some notes. Perfect hard-sync lead!
66 Creating a Hard-Sync Lead Sequential

A Final Word
The examples given here are fairly basic, but they give you some idea of
the power of synthesis. Imagine what you can create by using these as
starting points, then modulating the filters, oscillators, and even effects
with LFOs, Envelopes, and other modulation sources.
It’s often useful to start with a simple sound and make it progressively
more complex, while saving edited versions as you go so that you can
retrace your steps and branch off at different points in the sound design
process if you want.
Take 5 User’s Guide Creating a Hard-Sync Lead 67

Appendix A:
Modulation Sources
No Source
Osc 2
Noise
LFO 1
LFO 2
Env 1
Env 2
Voice Spread
Pitch Bend
Mod Wheel
Pressure
Breath
Foot Pedal
Expression Pedal
Velocity
Note Number
Filter Out
Random
DC
Audio Out
68 Appendix A: Modulation Sources Sequential

Appendix B:
Modulation Destinations
No Dest LFO 1 Amt
Osc 1 Octave LFO 2 Amt
Osc 2 Octave LFO All Amt
Osc 1 Fine Freq Env 1 Amt
Osc 2 Fine Freq Env 2 Amt
Osc All Fine Freq Env 1 Attack
Osc 1 Shape Env 2 Attack
Osc 2 Shape Env 1 Decay
Osc All Shape Env 2 Decay
Osc 1 Level Env 1 Release
Osc 2 Level Env 2 Release
Osc FM Level Mod 1 Amount
Sub Level Mod 2 Amount
Noise Mod 3 Amount
Drive Mod 4 Amount
Cutoff Mod 5 Amount
Resonance Mod 6 Amount
Overdrive Mod 7 Amount
Panning Mod 8 Amount
FX Mix Mod 9 Amount
FX Time Mod 10 Amount
FX Misc Mod 11 Amount
Reverb Mix Mod 12 Amount
Reverb Size Mod 13 Amount
Reverb PreDelay Mod 14 Amount
Reverb Decay Mod 15 Amount
Reverb Tone Mod 16 Amount
LFO 1 Freq
LFO 2 Freq
LFO All Freq
Take 5 User’s Guide Appendix B: Modulation Destinations 69

70 Sequential
Appendix C: Troubleshooting
and Support
Troubleshooting
If you’re experiencing problems or unexpected behavior from your Take
5, here are a few typical scenarios and their solutions:
If the Take 5 isn’t producing sound:.
1. Recall the Basic Program. (Global>BasicProgram>Write)

2. If the problem is still there, check the following:
• Volume - make sure it’s set to an appropriate value
• Rear-panel output jacks - make your audio cables are connected to left/right
output.
• In the global menu, make sure that local control is set to on.
If the sequencer or arpeggiator has stopped running:
• Check the midi clock mode setting in global to ensure the Take 5 is set
to out or off. Or if set to in or in thru or in no s/s, make sure the Take
5 is receiving MIDI clock.
If some of the programs sound different than usual:
• In the Global menu, check scale/alt tuning and make sure it’s set to
equal temperament. Also, check the Mod wheel position. The Mod
wheel can do more than just add vibrato. Also, check the clock mode
setting in the global menu to ensure the Take 5 is set to out or off.
Or if set to in or in thru or in no s/s, make sure the Take 5 is receiving
MIDI clock.
If there is a ground hum in the audio output:
• USB can cause ground loops, so try to resolve any grounding issues
between the computer (if connected) and the Take 5. Or use MIDI, which is
opto-isolated.
Take 5 User’s Guide Appendix C: Troubleshooting and Support 71

If the Take 5 is behaving erratically:
• This is almost always caused by a MIDI feedback loop. Make sure that
any MIDI Thru functionality is turned off on the MIDI interface/hard-
ware or in the MIDI software application. Disconnect all Take 5 MIDI
connections (MIDI and USB cables) and see if the problem persists.
You can also monitor the MIDI traffic with MIDI Monitor (Mac OS) or
MIDI-OX (Windows) to see if the Take 5 is being overrun with dupli-
cate messages.
If the Take 5 doesn’t seem to respond to its controls:
• Make sure local control is on in the global menu.
If MIDI System Exclusive data is not transmitted/received:
• Make sure that the midi sysex cable setting in the global menu is set
to usb or midi depending on which you are using to transmit or receive
MIDI messages.
If the Take 5 plays out of tune:
• Check the master coarse and master fine parameter in the global
menu to make sure they are both set to 0.
• You may need to recalibrate the oscillators. See “Calibrating the VCOs
and Filters” on page 75.
If the pitch or Mod wheel doesn’t go to full range:
• Recalibrate the Pitch and Mod wheels. See “Calibrating the Pitch and
Mod Wheels” on page 75.
If the filter sounds strange or out of tune:
• You may need to recalibrate the filters. See “Calibrating the VCOs and
Filters” on page 75.
72 Appendix C: Troubleshooting and Support Sequential

Resetting the Global Parameters
If you’re trying to track down a problem, it’s sometimes a good idea to
reset the Global parameters to their defaults. This is a quick way to make
sure that the Take 5 returns to its factory settings.
To reset all Global parameters to their default settings:

2. Use the select knob to select reset globals, then press write. Globals are
reset. You can now can play the Take 5 again.
Contacting Technical Support

If you are still having a problem with the Take 5, contact Technical
Support at [email protected]. Please include the purchase date of
your Take 5, its serial number, and the operating system version. Press
the global button to see this at the bottom of the main display.
If you haven’t already reset the Global parameters and run the calibration
routines (see Troubleshooting), you should do it before contacting Technical Support.
This is probably the first thing you will be asked to do.
Take 5 User’s Guide Appendix C: Troubleshooting and Support 73

Warranty Repair
Sequential warrants that the Take 5 will be free from defects in materials
and/or workmanship for 1 year from the date of purchase. Please register
your product online at www.sequential.com to establish the date of
purchase. (This is not a requirement for warranty service, but it will help
expedite the process.)
Please contact [email protected] to determine the best course of

action for getting your Take 5 repaired. For your own protection, as well
as ours, please do not return any product to Sequential without a return
authorization (RA) number. To issue an RA number, Technical Support
needs:
• Your name
• Your return address
• Your email address
• A phone number where you can be reached
• Your Take 5’s serial number
• The date of purchase and where purchased
If you need to return your instrument for repair, you are responsible for
getting it to Sequential. We highly recommend insuring it and packing in
the original packaging. Damage resulting from shipping a product with
insufficient packaging is not covered by warranty.
74 Appendix C: Troubleshooting and Support Sequential

Appendix D: Calibrating the Take 5
Because the Take 5 is calibrated at the factory, controls such as the Pitch
and Mod wheels, Touch Slider, and analog filters shouldn’t require
re-calibration. But if you experience unexpected behavior with these
controls, you can use the calibration function to tune them occasionally.
Calibrating the VCOs and Filters

To calibrate the VCOs and filters:

2. Use the select knob to select cal voices, then press write.
3. The synthesizer performs its auto-calibration procedure. Don’t turn off
the power while it’s doing this.
4. When finished, the front panel controls will return to normal and you
can play the Take 5 again.
Calibrating the Pitch and Mod Wheels

To calibrate the Pitch and Mod wheels:

2. Use the select knob to select cal wheels, then follow the instructions in
the display.
3. When finished, press the global button again to exit the global menu.
You can now can play the Take 5 again.
Resetting the Global Parameters

If you’re trying to track down a problem, it’s sometimes a good idea to
reset the Global parameters to their defaults. This is a quick way to make
sure that the Take 5 returns to its factory settings.
To reset all Global parameters to their default settings:

2. Use the select knob to select reset globals, then press write. Globals are
reset. You can now can play the Take 5 again.
Take 5 User’s Guide Appendix D: Calibrating the Take 5 75

Appendix E: Exporting and Importing
Programs and Banks
You can use the dump preset, dump bank, and dump all banks commands
in the global menu to transmit the current program, bank, or all banks
in SysEx format via the selected MIDI port. This allows you to save
your programs so that you can share or archive them. You will need a
computer and software application such as SysEx Librarian for Macin-
tosh, or MIDIOX for Windows.
To export a program or bank as a SysEx file over USB:
1. Connect your synthesizer to a computer using a USB cable.

2. Open your MIDI librarian software (SysEx Librarian, etc.) and config-
ure it to receive SysEx messages.
3. Press the global button on the Take 5.
4. Use the select knob to select midi sysex cable, then use the value knob
to choose usb.
5. Use the select knob to select dump preset, dump bank, or dump all
banks, depending on which of these you would like to do.
6. Press write. The program or bank is exported.
Dumped programs will load back into the same bank and program location in
memory when received by the Take 5 via MIDI.
Programs can also be dumped directly from one Take 5 to another using
the MIDI DIN jack, if the midi sysex cable parameter is set to midi in the
global menu.
To send a program or bank to another Take 5 as a SysEx file over MIDI:
1. Connect two Take 5 synthesizers together using MIDI cables and the
midi in and midi out jacks on their rear panels.
2. On both synthesizers, Press the global button and use the select knob
to select midi sysex cable, then use the value knob to choose midi.
3. On the Take 5 that you want to send the programs to, press the global
button again to exit the global menu.
76 Appendix D: Calibrating the Take 5 Sequential

4. On the Take 5 that you want to send the programs from, in the global
menu select dump preset, dump bank, or dump all banks, depending on
which of these you would like to do.
5. Press write. The program or bank is exported to the other Take 5.
Dumped programs will load back into the same bank and program location in
memory when received by the Take 5 via MIDI.
Importing Programs and Banks

You can use a MIDI librarian application such as such as SysEx Librar-
ian for Macintosh, or MIDI-OX for Windows to transmit exported
program or banks back into your Take 5. You will need a computer and
an appropriate software application.
To import a program or bank as a SysEx file over MIDI:
1. Connect your synthesizer to a computer using a USB cable (or MIDI

cable, if you are using a dedicated MIDI interface).
2. Press the global button on the Take 5.
3. Use the select knob to select midi sysex cable, then use the value
knob to choose usb or midi, depending on which port you are using to
connect to your computer.
4. Open your MIDI librarian software and configure it to send SysEx
messages to your Take 5.
5. In the MIDI librarian, open the programs and/or banks you want to send.
6. Transmit the programs. The Take 5 should load them. They will replace
any existing programs in those same memory locations on the synth.
Programs will load back into the same bank and program locations from which
they were originally exported.
Take 5 User’s Guide Appendix D: Calibrating the Take 5 77

Appendix F: Alternative Tunings
By default, the Take 5 is set to standard, chromatic western tuning. Addi-
tionally, it supports up to 64 additional alternative tunings, which you
can access using the alt tunings parameter in the global menu.
These 64 alternative tunings range from Equal temperament to Indo-

nesian Gamelan tunings. If you want, you can replace these with other
tunings that you can find on the Internet. These must be in SysEx format.
You can download them into the Take 5 using SysEx Librarian for Mac
or MIDI-OX for Windows.
Here are descriptions of the default Take 5 alternative tunings:
1. 12-Tone Equal Temperament (non-erasable)

The default Western tuning, based on the twelfth root of two.
2. Harmonic Series
MIDI notes 36-95 reflect harmonics 2 through 60 based on the funda-
mental of A = 27.5 Hz. The low C on a standard 5 octave keyboard acts
as the root note (55Hz), and the harmonics play upwards from there. The
remaining keys above and below the 5 octave range are filled with the
same intervals as Carlos’ Harmonic 12 Tone that follows.
3. Carlos Harmonic Twelve Tone

Wendy Carlos’ twelve note scale based on octave-repeating harmonics.
A = 1/1 (440 Hz). 1/1 17/16 9/8 19/16 5/4 21/16 11/8 3/2 13/8 27/16 7/4
15/8
4. Meantone Temperament
An early tempered tuning, with better thirds than 12ET. Sounds best in
the key of C. Use this to add an authentic touch to performances of early
Baroque music. C=1/1 (260 Hz)
5. 1/4 Tone Equal Temperament

24 notes per octave, equally spaced 24root2 intervals. Mexican composer
Julian Carillo used this for custom-built pianos in the early 20th century.
78 Appendix F: Alternative Tunings Sequential

6. 19 Tone Equal Temperament
19 notes per octave (19root2) offering better thirds than 12 ET, a better
overall compromise if you can figure out the keyboard patterns.
7. 31 Tone Equal Temperament

Many people consider 31root2 to offer the best compromise towards just
intonation in an equal temperament, but it can get very tricky to keep
track of the intervals.
8. Pythagorean C
One of the earliest tuning systems known from history, the Pythagorean
scale is constructed from an upward series of pure fifths (3/2) transposed
down into a single octave. The tuning works well for monophonic melo-
dies against fifth drones, but has a very narrow palate of good chords
to choose from. C=1/1 (261.625 Hz) 1/1 256/243 9/8 32/27 81/64 4/3
729/512 3/2 128/81 27/16 16/9 243/128
9. Just Intonation in A with 7-Limit Tritone at D#

A rather vanilla 5-limit small interval JI, except for a single 7/5 tritone
at D#, which offers some nice possibilities for rotating around bluesy
sevenths. A=1/1 (440 Hz) 1/1 16/15 9/8 6/5 5/4 7/5 3/2 8/5 5/3 9/5 15/8
10. 3-5 Lattice in A

A pure 3 and 5-limit tuning which resolves to very symmetrical derived
relationships between notes. A=1/1 (440 Hz) 1/1 16/15 10/9 6/5 5/4 4/3
64/45 3/2 8/5 5/3 16/9 15/8
11. 3-7 Lattice in A

A pure 3 and 7-limit tuning which resolves to very symmetrical derived
relationships between notes. Some of the intervals are very close
together, offering several choices for the same nominal chords. A=1/1
(440 Hz) 1/1 9/8 8/7 7/6 9/7 21/16 4/3 3/2 32/21 12/7 7/4 63/32
12. Other Music 7-Limit Black Keys in C

Created by the group Other Music for their homemade gamelan, this
offers a wide range of interesting chords and modes. C=1/1 (261.625 Hz)
1/1 15/14 9/8 7/6 5/4 4/3 7/5 3/2 14/9 5/3 7/4 15/8
Take 5 User’s Guide Appendix F: Alternative Tunings 79

13. Dan Schmidt Pelog/Slendro
Created for the Berkeley Gamelan group, this tuning fits an Indonesian-
style heptatonic Pelog on the white keys and pentatonic Slendro on the
black keys, with B and Bb acting as 1/1 for their respective modes. Note
that some of the notes will have the same frequency. By tuning the 1/1 to
60 Hz, Dan found a creative way to incorporate the inevitable line hum
into his scale. Bb, B = 1/1 (60 Hz) 1/1 1/1 9/8 7/6 5/4 4/3 11/8 3/2 3/2
7/4 7/4 15/8
14. Yamaha Just Major C

When Yamaha decided to put preset microtunings into their FM synth
product line, they selected this and the following tuning as representative
just intonations. As such, they became the de-facto introduction to JI for
many people. Just Major gives preferential treatment to major thirds on
the sharps, and a good fourth relative to the second. C= 1/1 (261.625) 1/1
16/15 9/8 6/5 5/4 4/3 45/32 3/2 8/5 5/3 16/9 15/8
15. Yamaha Just Minor C

Similar to Yamaha’s preset Just Major, the Just Minor gives preferential
treatment to minor thirds on the sharps, and has a good fifth relative to
the second. C= 1/1 (261.625) 1/1 25/24 10/9 6/5 5/4 4/3 45/32 3/2 8/5
5/3 16/9 15/8
16. Harry Partch 11-Limit 43 Note Just Intonation

One of the pioneers of modern microtonal composition, Partch built
a unique orchestra with this tuning during the first half of the 20th
century, to perform his own compositions. The large number of intervals
in this very dense scale offers a full vocabulary of expressive chords
and complex key changes. The narrow spacing also allows fixed-
pitched instruments like marimbas and organs to perform glissando-like
passages. G = 1/1 (392 Hz, MIDI note 67)
1/1 81/80 33/32 21/20 16/15 12/11 11/10 10/9 9/8 8/7 7/6 32/27 6/5 11/9
5/4 14/11 9/7 21/16 4/3 27/20 11/8 7/5 10/7 16/11 40/27 3/2 32/21 14/9
11/7 8/5 18/11 5/3 27/16 12/7 7/4 16/9 9/5 20/11 11/6 15/8 40/21 64/33
160/81

17. Arabic 12-Tone
A 12-tone approximation of an Arabic scale, which appears in some elec-
tronic keyboards designed for use with Arabic music. Not a JI scale, nor
equal tempered. These are the intervals in Cents relative to C:
60 = Cents 0
61 = Cents +151
62 = Cents +204
63 = Cents +294
64 = Cents +355
65 = Cents +498
66 = Cents +649
67 = Cents +702
68 = Cents +853
69 = Cents +906
70 = Cents +996
71 = Cents +1057
72 = Cents +1200

18. 12 Out of 19-tET Scale from Mandelbaum’s Dissertation
An interesting non-just 12 tone scale that has some unusual relationships.
note 0=0
note 1=63
note 2=189
note 3=253
note 4=379
note 5=505
note 6=568
note 7=695
note 8=758
note 9=884
note 10=947
note 11=1074
note 12=1200
19. 12 Out of 31-tET, Meantone Eb-G#

note 0=0
note 1=77
note 2=194
note 3=310
note 4=387
note 5=503
note 6=581
note 7=697
note 8=774
note 9=890
note 10=1006
note 11=1084
note 12=1200

20. Terry Riley’s Harp of New Albion scale, Inverse Malcolm’s
Monochord
Original 1/1 on C#, here it is set to C.
60 = Cents 0. Ratio: 1/1 (JUST)

61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +609.776284 Ratio: 64/45 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
72 = Cents +1200. Ratio: 2/1 (JUST)
21. Lute tuning of Giovanni Maria Artusi (1603). 1/4-comma w.

Acc. 1/2-way Naturals
61 = Cents +96.578 Ratio: 8607/8140
62 = Cents +193.157 Ratio: 2889/2584
63 = Cents +289.735 Ratio: 11687/9886
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +503.422 Ratio: 5267/3938
66 = Cents +600. Ratio: 11482/8119
67 = Cents +696.578 Ratio: 7876/5267
68 = Cents +793.157 Ratio: 14771/9342
69 = Cents +889.735 Ratio: 11718/7009
70 = Cents +986.314 Ratio: 17561/9934
71 = Cents +1082.892 Ratio: 18204/9739

22. J.S. Bach “well temperament”, Acc. to Jacob Breetvelt’s Tuner
61 = Cents +92.18 Ratio: 10472/9929
62 = Cents +200. Ratio: 5252/4679
63 = Cents +296.09 Ratio: 11781/9929
64 = Cents +390.225 Ratio: 9638/7693
65 = Cents +500. Ratio: 6793/5089
66 = Cents +590.225 Ratio: 45/32 (just)
67 = Cents +700. Ratio: 10178/6793
68 = Cents +794.135 Ratio: 15708/9929
69 = Cents +895.1125 Ratio: 14857/8859
70 = Cents +998.045 Ratio: 12503/7025
71 = Cents +1090.225 Ratio: 18484/9847
23. Bulgarian Bagpipe tuning, Empirically Measured.

1 = Cents +66. Ratio: 5427/5224
2 = Cents +202. Ratio: 1925/1713
3 = Cents +316. Ratio: 11586/9653
4 = Cents +399. Ratio: 4965/3943
5 = Cents +509. Ratio: 7451/5553
6 = Cents +640. Ratio: 13435/9283
7 = Cents +706. Ratio: 857/570
8 = Cents +803. Ratio: 2681/1686
9 = Cents +910. Ratio: 12130/7171
10 = Cents +1011. Ratio: 1205/672
11 = Cents +1092. Ratio: 12599/6705

24. Wendy Carlos’ Alpha Scale with Perfect Fifth Divided in
Nine. 19 Tone cycle
Octaves are stretched, and the tuning is quite microtonal.
1 = Cents +78. Ratio: 7241/6922
2 = Cents +156. Ratio: 8994/8219
3 = Cents +234. Ratio: 10686/9335
4 = Cents +312. Ratio: 11873/9915
5 = Cents +390. Ratio: 11636/9289
6 = Cents +468. Ratio: 13024/9939
7 = Cents +546. Ratio: 12433/9070
8 = Cents +624. Ratio: 11605/8093
9 = Cents +702. Ratio: 14999/9999
10 = Cents +780. Ratio: 3471/2212
11 = Cents +858. Ratio: 15361/9358
12 = Cents +936. Ratio: 11467/6678
13 = Cents +1014. Ratio: 17889/9959
14 = Cents +1092. Ratio: 12599/6705
15 = Cents +1170. Ratio: 18593/9459
16 = Cents +1248. Ratio: 14957/7274
17 = Cents +1326. Ratio: 8049/3742
18 = Cents +1404. Ratio: 9617/4274
19 = Cents +1482. Ratio: 1111/472

25. Wendy Carlos’ Beta Scale with Perfect Fifth Divided by
Eleven. 23-Tone Cycle
Octaves are stretched, and the tuning is quite microtonal (First repeat
shown.)
1 = Cents +63.8 Ratio: 6191/5967
2 = Cents +127.6 Ratio: 9725/9034
3 = Cents +191.4 Ratio: 7739/6929
4 = Cents +255.2 Ratio: 8821/7612
5 = Cents +319. Ratio: 7636/6351
6 = Cents +382.8 Ratio: 11690/9371
7 = Cents +446.6 Ratio: 9007/6959
8 = Cents +510.4 Ratio: 1500/1117
9 = Cents +574.2 Ratio: 13547/9723
10 = Cents +638. Ratio: 12529/8667
11 = Cents +701.8 Ratio: 5584/3723
12 = Cents +765.6 Ratio: 9281/5964
13 = Cents +829.4 Ratio: 15760/9761
14 = Cents +893.2 Ratio: 1047/625
15 = Cents +957. Ratio: 9629/5540
16 = Cents +1020.8 Ratio: 16551/9178
17 = Cents +1084.6 Ratio: 16263/8692
18 = Cents +1148.4 Ratio: 13585/6998
19 = Cents +1212.2 Ratio: 17231/8555
20 = Cents +1276. Ratio: 12503/5983
21 = Cents +1339.8 Ratio: 10583/4881
22 = Cents +1403.6 Ratio: 12564/5585
23 = Cents +1467.4 Ratio: 8727/3739

26. Wendy Carlos’ Gamma Scale with Third Divided by Eleven
or Fifth by Twenty. 36 Tone
Octaves are stretched, and the tuning is quite microtonal.
1 = Cents +35.099 Ratio: 1146/1123
2 = Cents +70.198 Ratio: 7449/7153
3 = Cents +105.297 Ratio: 4118/3875
4 = Cents +140.396 Ratio: 475/438
5 = Cents +175.495 Ratio: 5363/4846
6 = Cents +210.594 Ratio: 3990/3533
7 = Cents +245.693 Ratio: 11307/9811
8 = Cents +280.792 Ratio: 4495/3822
9 = Cents +315.891 Ratio: 9707/8088
10 = Cents +350.99 Ratio: 1989/1624
11 = Cents +386.089 Ratio: 1926/1541
12 = Cents +421.188 Ratio: 7321/5740
13 = Cents +456.287 Ratio: 2089/1605
14 = Cents +491.386 Ratio: 8563/6447
15 = Cents +526.485 Ratio: 6117/4513
16 = Cents +561.584 Ratio: 148/107
17 = Cents +596.683 Ratio: 2895/2051
18 = Cents +631.782 Ratio: 7627/5295
19 = Cents +666.881 Ratio: 13901/9457
20 = Cents +701.98 Ratio: 3/2 (just)
21 = Cents +737.079 Ratio: 5477/3578
22 = Cents +772.178 Ratio: 6981/4469
23 = Cents +807.277 Ratio: 14613/9167
24 = Cents +842.376 Ratio: 10660/6553
25 = Cents +877.475 Ratio: 1255/756
26 = Cents +912.574 Ratio: 3959/2337
27 = Cents +947.673 Ratio: 16513/9552
28 = Cents +982.772 Ratio: 15424/8743
29 = Cents +1017.871 Ratio: 7563/4201
30 = Cents +1052.97 Ratio: 7367/4010
31 = Cents +1088.069 Ratio: 11918/6357
32 = Cents +1123.168 Ratio: 13310/6957
33 = Cents +1158.267 Ratio: 17050/8733
34 = Cents +1193.366 Ratio: 14586/7321
35 = Cents +1228.465 Ratio: 13368/6575
36 = Cents +1263.564 Ratio: 1276/615
27. Carlos Super Just
61 = Cents +104.95541 Ratio: 17/16 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +551.317942 Ratio: 11/8 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +840.527662 Ratio: 13/8 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
28. Jon Catler 24-tone JI from “Over and Under the 13 Limit”
61 = Cents +53.272943 Ratio: 33/32 (JUST)
62 = Cents +111.731285 Ratio: 16/15 (JUST)
63 = Cents +203.910002 Ratio: 9/8 (JUST)
64 = Cents +231.174094 Ratio: 8/7 (JUST)
65 = Cents +266.870906 Ratio: 7/6 (JUST)
66 = Cents +315.641287 Ratio: 6/5 (JUST)
67 = Cents +342.905379 Ratio: 128/105
68 = Cents +359.472338 Ratio: 16/13 (JUST)
69 = Cents +386.313714 Ratio: 5/4 (JUST)
70 = Cents +470.780907 Ratio: 21/16 (JUST)
71 = Cents +498.044999 Ratio: 4/3 (JUST)
72 = Cents +551.317942 Ratio: 11/8 (JUST)
73 = Cents +590.223716 Ratio: 45/32 (JUST)
74 = Cents +648.682058 Ratio: 16/11 (JUST)
75 = Cents +701.955001 Ratio: 3/2 (JUST)
76 = Cents +813.686286 Ratio: 8/5 (JUST)
77 = Cents +840.527662 Ratio: 13/8 (JUST)
78 = Cents +884.358713 Ratio: 5/3 (JUST)
79 = Cents +905.865003 Ratio: 27/16 (JUST)
80 = Cents +968.825906 Ratio: 7/4 (JUST)
81 = Cents +996.089998 Ratio: 16/9 (JUST)
82 = Cents +1061.427339 Ratio: 24/13 (JUST)
83 = Cents +1088.268715 Ratio: 15/8 (JUST)

29. John Chalmers JI-1, Based loosely on Wronski’s and simi-
lar JI scales, May 2, 1997.
(Chalmer’s book “Divisions of the Tetrachord” is a late 20th century
masterwork, exploring the mathematical underpinnings of just tunings.)
6 0 = Cents 0. Ratio: 1/1 (JUST)

61 = Cents +104.95541 Ratio: 17/16 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +297.513016 Ratio: 19/16 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +603.000409 Ratio: 17/12 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +795.558015 Ratio: 19/12 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +999.468017 Ratio: 57/32 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
30. John Chalmers JI-3, 15 16 17 18 19 20 21 on 1/1, 15-20 on

3/2, May 2, 1997.
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +216.686695 Ratio: 17/15 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +409.244301 Ratio: 19/15 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +582.512193 Ratio: 7/5 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +918.641696 Ratio: 17/10 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1111.199302 Ratio: 19/10 (JUST)

31. John Chalmers JI-4, 15 16 17 18 19 20 on 1/1, same on 4/3,
+ 16/15 on 16/9
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +216.686695 Ratio: 17/15 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +409.244301 Ratio: 19/15 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +609.776284 Ratio: 64/45 (JUST)
67 = Cents +714.731694 Ratio: 68/45 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +907.289301 Ratio: 76/45 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1107.821284 Ratio: 256/135
32. Chinese scale, 4th century

1 = Cents +99.2 Ratio: 3735/3527
2 = Cents +199.5 Ratio: 11126/9915
3 = Cents +296.7 Ratio: 9181/7735
4 = Cents +398. Ratio: 10405/8268
5 = Cents +492.9 Ratio: 448/337
6 = Cents +595.2 Ratio: 11312/8021
7 = Cents +699. Ratio: 6439/4300
8 = Cents +790.9 Ratio: 7578/4799
9 = Cents +896.1 Ratio: 15436/9199
10 = Cents +984.9 Ratio: 6357/3599
11 = Cents +1091.4 Ratio: 1591/847

33. Chinese Lu scale by Huai Nan Zi, Han era. (P. Amiot 1780,
Kurt Reinhard)
61 = Cents +98.954592 Ratio: 18/17 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +394.347297 Ratio: 54/43 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +608.351986 Ratio: 27/19 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +800.909593 Ratio: 27/17 (JUST)
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1106.396986 Ratio: 36/19 (JUST)
34. Colonna 1
Fabio Colonna lived in Naples, and published a treatise in 1618 called
“La Sambuca Lincea”, which included a description of the instrument by
that name which he built on commission from Scipione Stella, who had
had the opportunity in 1594 to examine Vincentino’s “Archicembalo” —
a 31-tone-per-octave (not equal-tempered) keyboard instrument.

61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +182.403712 Ratio: 10/9 (JUST)
63 = Cents +287.359122 Ratio: 85/72 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +568.717426 Ratio: 25/18 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +733.721654 Ratio: 55/36 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +989.314122 Ratio: 85/48 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

35. Colonna 2 - Second 12 Note Subset of the Colonna Scale
61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +582.512193 Ratio: 7/5 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1049.362941 Ratio: 11/6 (JUST)
36. Ivor Darreg’s 19 ratios in 5-limit JI for his Megalyra Family

Darreg was one of the great modern theorists of just intonation.

61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +111.731285 Ratio: 16/15 (JUST)
63 = Cents +182.403712 Ratio: 10/9 (JUST)
64 = Cents +203.910002 Ratio: 9/8 (JUST)
65 = Cents +274.582429 Ratio: 75/64 (JUST)
66 = Cents +315.641287 Ratio: 6/5 (JUST)
67 = Cents +386.313714 Ratio: 5/4 (JUST)
68 = Cents +498.044999 Ratio: 4/3 (JUST)
69 = Cents +590.223716 Ratio: 45/32 (JUST)
70 = Cents +609.776284 Ratio: 64/45 (JUST)
71 = Cents +701.955001 Ratio: 3/2 (JUST)
72 = Cents +772.627428 Ratio: 25/16 (JUST)
73 = Cents +813.686286 Ratio: 8/5 (JUST)
74 = Cents +884.358713 Ratio: 5/3 (JUST)
75 = Cents +905.865003 Ratio: 27/16 (JUST)
76 = Cents +976.537429 Ratio: 225/128
77 = Cents +1017.596288 Ratio: 9/5 (JUST)
78 = Cents +1088.268715 Ratio: 15/8 (JUST)

37. Dorian Diatonic Tonos
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +231.174094 Ratio: 8/7 (JUST)
63 = Cents +359.472338 Ratio: 16/13 (JUST)
64 = Cents +427.372572 Ratio: 32/25 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +571.725653 Ratio: 32/23 (JUST)
67 = Cents +648.682058 Ratio: 16/11 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +902.486984 Ratio: 32/19 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1095.04459 Ratio: 32/17 (JUST)
38. Almost Equal 12-tone Subset of Duodenarium

61 = Cents +92.178716 Ratio: 135/128
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +296.088718 Ratio: 1215/1024
64 = Cents +405.866283 Ratio: 512/405
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +609.776284 Ratio: 64/45 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +794.133717 Ratio: 405/256
69 = Cents +903.911282 Ratio: 2048/1215
70 = Cents +998.043719 Ratio: 3645/2048
71 = Cents +1107.821284 Ratio: 256/135

39. Ellis’s Just Harmonium
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +519.551289 Ratio: 27/20 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
40. Bali/Java Slendro, Siam 7, empirical

61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +519.551289 Ratio: 27/20 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

41. Tibetian Ceremonial, empirical
1 = Cents +58. Ratio: 2762/2671
2 = Cents +232. Ratio: 6889/6025
3 = Cents +310. Ratio: 10601/8863
4 = Cents +378. Ratio: 11945/9602
5 = Cents +522. Ratio: 849/628
6 = Cents +618. Ratio: 483/338
7 = Cents +725. Ratio: 605/398
8 = Cents +773. Ratio: 13070/8363
9 = Cents +896. Ratio: 14076/8389
10 = Cents +1019. Ratio: 12585/6986
11 = Cents +1086. Ratio: 16205/8654
42. Erlangen, revised

61 = Cents +92.178716 Ratio: 135/128
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +294.134997 Ratio: 32/27 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +794.133717 Ratio: 405/256
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

43. Euler - Monochord (1739)
61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +274.582429 Ratio: 75/64 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +772.627428 Ratio: 25/16 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +976.537429 Ratio: 225/128
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
44. Fokker’s 7-limit 12-tone Just Scale

61 = Cents +119.442808 Ratio: 15/14 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +821.397809 Ratio: 45/28 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

45. Bagpipe tuning from Fortuna (“Try Key of G with F Natural”)
61 = Cents +29.849602 Ratio: 117/115
62 = Cents +187.681869 Ratio: 146/131
63 = Cents +256.596489 Ratio: 196/169
64 = Cents +343.090647 Ratio: 89/73 (JUST)
65 = Cents +493.957077 Ratio: 141/106
66 = Cents +548.648344 Ratio: 81/59 (JUST)
67 = Cents +684.728649 Ratio: 150/101
68 = Cents +729.878736 Ratio: 125/82 (JUST)
69 = Cents +871.94838 Ratio: 139/84 (JUST)
70 = Cents +985.798925 Ratio: 205/116
71 = Cents +1049.362941 Ratio: 11/6 (JUST)
46. Gamelan Udan Mas (approx) s6,p6,p7,s1,p1,s2,p2,p3,s3,p

4,s5,p5
62 = Cents +182.403712 Ratio: 10/9 (JUST)
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +427.372572 Ratio: 32/25 (JUST)
65 = Cents +510.367002 Ratio: 47/35 (JUST)
66 = Cents +571.725653 Ratio: 32/23 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +745.786052 Ratio: 20/13 (JUST)
69 = Cents +996.089998 Ratio: 16/9 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1126.319346 Ratio: 23/12 (JUST)

47. Kraig Grady’s 7-limit “Centaur” Scale, 1987.
See Xenharmonikon 16.

61 = Cents +84.467193 Ratio: 21/20 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +582.512193 Ratio: 7/5 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +764.915905 Ratio: 14/9 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
48. Harmonics 1 to 12 and Subharmonics Mixed

61 = Cents +203.910002 Ratio: 9/8 (JUST)
62 = Cents +231.174094 Ratio: 8/7 (JUST)
63 = Cents +386.313714 Ratio: 5/4 (JUST)
64 = Cents +498.044999 Ratio: 4/3 (JUST)
65 = Cents +551.317942 Ratio: 11/8 (JUST)
66 = Cents +648.682058 Ratio: 16/11 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +968.825906 Ratio: 7/4 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)

49. Michael Harrison, Ppiano Tuning for “Revelation” (2001)
Original 1/1=F, here it is set to C.
61 = Cents -27.264092 Ratio: 63/64 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +176.64591 Ratio: 567/512
64 = Cents +407.820003 Ratio: 81/64 (JUST)
65 = Cents +470.780907 Ratio: 21/16 (JUST)
66 = Cents +611.730005 Ratio: 729/512
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +674.690909 Ratio: 189/128
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1109.775004 Ratio: 243/128

50. Helmholtz’s two-keyboard Harmonium Tuning Untempered,
24 notes per octave
61 = Cents +92.178716 Ratio: 135/128
62 = Cents +111.731285 Ratio: 16/15 (JUST)
63 = Cents +182.403712 Ratio: 10/9 (JUST)
64 = Cents +203.910002 Ratio: 9/8 (JUST)
65 = Cents +274.582429 Ratio: 75/64 (JUST)
66 = Cents +294.134997 Ratio: 32/27 (JUST)
67 = Cents +386.313714 Ratio: 5/4 (JUST)
68 = Cents +405.866283 Ratio: 512/405
69 = Cents +478.49243 Ratio: 675/512
70 = Cents +498.044999 Ratio: 4/3 (JUST)
71 = Cents +590.223716 Ratio: 45/32 (JUST)
72 = Cents +609.776284 Ratio: 64/45 (JUST)
73 = Cents +680.448711 Ratio: 40/27 (JUST)
74 = Cents +701.955001 Ratio: 3/2 (JUST)
75 = Cents +772.627428 Ratio: 25/16 (JUST)
76 = Cents +792.179997 Ratio: 128/81 (JUST)
77 = Cents +884.358713 Ratio: 5/3 (JUST)
78 = Cents +905.865003 Ratio: 27/16 (JUST)
79 = Cents +976.537429 Ratio: 225/128
80 = Cents +996.089998 Ratio: 16/9 (JUST)
81 = Cents +1088.268715 Ratio: 15/8 (JUST)
82 = Cents +1107.821284 Ratio: 256/135
83 = Cents +1178.49371 Ratio: 160/81 (JUST)

51. North Indian Gamut, Modern Hindustani 12 Selected from
22 or More Shrutis
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
52. Carnatic Gamut. Kuppuswami: Carnatic Music and the

Tamils, p. v
61 = Cents +98.954592 Ratio: 18/17 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +394.347297 Ratio: 54/43 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +596.999591 Ratio: 24/17 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +800.909593 Ratio: 27/17 (JUST)
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1096.302298 Ratio: 81/43 (JUST)

53. Observed South Indian Tuning of a vina, Ellis
Octaves are stretched.

61 = Cents +97. Ratio: 8644/8173
62 = Cents +195. Ratio: 10974/9805
63 = Cents +312. Ratio: 11873/9915
64 = Cents +397. Ratio: 3372/2681
65 = Cents +515. Ratio: 9782/7265
66 = Cents +596. Ratio: 12731/9023
67 = Cents +692. Ratio: 13439/9011
68 = Cents +782. Ratio: 6031/3839
69 = Cents +883. Ratio: 6793/4079
70 = Cents +997. Ratio: 4863/2734
71 = Cents +1092. Ratio: 12599/6705
72 = Cents +1207. Ratio: 15117/7528
54. 7-limit 12-tone Scale

61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +582.512193 Ratio: 7/5 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +933.129094 Ratio: 12/7 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

55. Alternate 7-limit 12-tone Scale
61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +182.403712 Ratio: 10/9 (JUST)
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +470.780907 Ratio: 21/16 (JUST)
66 = Cents +582.512193 Ratio: 7/5 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +933.129094 Ratio: 12/7 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
56. Kurzweil “Just with Natural b7th”, is Sauveur Just with 7/4
61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

57. 3 and 7 prime rational interpretation of 17-tET
61 = Cents +62.960904 Ratio: 28/27 (JUST)
62 = Cents +140.949098 Ratio: 243/224
63 = Cents +203.910002 Ratio: 9/8 (JUST)
64 = Cents +294.134997 Ratio: 32/27 (JUST)
65 = Cents +357.095901 Ratio: 896/729
66 = Cents +435.084095 Ratio: 9/7 (JUST)
67 = Cents +498.044999 Ratio: 4/3 (JUST)
68 = Cents +561.005903 Ratio: 112/81 (JUST)
69 = Cents +638.994097 Ratio: 81/56 (JUST)
70 = Cents +701.955001 Ratio: 3/2 (JUST)
71 = Cents +764.915905 Ratio: 14/9 (JUST)
72 = Cents +842.904099 Ratio: 729/448
73 = Cents +905.865003 Ratio: 27/16 (JUST)
74 = Cents +996.089998 Ratio: 16/9 (JUST)
75 = Cents +1059.050902 Ratio: 448/243
76 = Cents +1137.039096 Ratio: 27/14 (JUST)

58. 11-limit ‘prime row’ from Ben Johnston’s “6th Quartet”.
Not octave repeating, with some very narrow intervals. These are the
first 30 pitches:

1 = Cents +70.672427 Ratio: 25/24 (JUST)
2 = Cents +182.403712 Ratio: 10/9 (JUST)
3 = Cents +274.582429 Ratio: 75/64 (JUST)
4 = Cents +386.313714 Ratio: 5/4 (JUST)
5 = Cents +505.756522 Ratio: 75/56 (JUST)
6 = Cents +568.717426 Ratio: 25/18 (JUST)
7 = Cents +733.721654 Ratio: 55/36 (JUST)
8 = Cents +772.627428 Ratio: 25/16 (JUST)
9 = Cents +884.358713 Ratio: 5/3 (JUST)
10 = Cents +923.264486 Ratio: 75/44 (JUST)
11 = Cents +1088.268715 Ratio: 15/8 (JUST)
12 = Cents +1151.229619 Ratio: 35/18 (JUST)
13 = Cents +1221.902045 Ratio: 875/432
14 = Cents +1333.633331 Ratio: 175/81 (JUST)
15 = Cents +1425.812047 Ratio: 875/384
16 = Cents +1537.543332 Ratio: 175/72 (JUST)
17 = Cents +1656.986141 Ratio: 125/48 (JUST)
18 = Cents +1719.947045 Ratio: 875/324
19 = Cents +1884.951273 Ratio: 1925/648
20 = Cents +1923.857046 Ratio: 875/288
21 = Cents +2035.588332 Ratio: 175/54 (JUST)
22 = Cents +2074.494105 Ratio: 875/264
23 = Cents +2239.498333 Ratio: 175/48 (JUST)
24 = Cents +2302.459237 Ratio: 1225/324
25 = Cents +2373.131664 Ratio: 30625/7776
26 = Cents +2484.862949 Ratio: 6125/1458
27 = Cents +2577.041666 Ratio: 30625/6912
28 = Cents +2688.772951 Ratio: 6125/1296
29 = Cents +2808.215759 Ratio: 4375/864
30 = Cents +2871.176663 Ratio: 30625/5832

59. 1/9-Harrison’s comma mean-tone scale
61 = Cents +74.23293 Ratio: 8315/7966
62 = Cents +192.63798 Ratio: 6334/5667
63 = Cents +266.870906 Ratio: 7/6 (JUST)
64 = Cents +385.27596 Ratio: 6671/5340
65 = Cents +503.68101 Ratio: 13025/9737
66 = Cents +577.91394 Ratio: 2632/1885
67 = Cents +696.31899 Ratio: 14567/9743
68 = Cents +770.55192 Ratio: 9743/6243
69 = Cents +888.95697 Ratio: 1885/1128
70 = Cents +963.1899 Ratio: 13187/7560
71 = Cents +1081.59495 Ratio: 1780/953
60. Rousseau’s Monochord, Dictionnaire de musique (1768)

61 = Cents +70.672427 Ratio: 25/24 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +568.717426 Ratio: 25/18 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

61. Persian santur tuning. 1/1=E in Original
Here it is set to C. Note that scale is 8 notes per octave, so it will not map
normally to a 12 note keyboard.

61 = Cents +129.99971 Ratio: 10727/9951
62 = Cents +345. Ratio: 4710/3859
63 = Cents +490.00034 Ratio: 5797/4368
64 = Cents +630.00051 Ratio: 8153/5666
65 = Cents +849.99952 Ratio: 13952/8539
66 = Cents +1034.99975 Ratio: 20/11 (just)
67 = Cents +1137.00011 Ratio: 15866/8227
69 = Cents +1329.99971 Ratio: 21454/9951
70 = Cents +1545. Ratio: 18281/7489
71 = Cents +1690.00034 Ratio: 5797/2184
72 = Cents +1830.00051 Ratio: 28347/9850
73 = Cents +2049.99952 Ratio: 32211/9857
74 = Cents +2234.99975 Ratio: 36331/9991
75 = Cents +2337.00011 Ratio: 38073/9871
62. Vallotti & Young (Vallotti Version)

61 = Cents +94.135 Ratio: 10487/9932
62 = Cents +196.09 Ratio: 10851/9689
63 = Cents +298.045 Ratio: 4679/3939
64 = Cents +392.18 Ratio: 3843/3064
65 = Cents +501.955 Ratio: 5467/4091
66 = Cents +592.18 Ratio: 13863/9847
67 = Cents +698.045 Ratio: 8182/5467
68 = Cents +796.09 Ratio: 13019/8220
69 = Cents +894.135 Ratio: 2427/1448
70 = Cents +1000. Ratio: 17189/9647
71 = Cents +1090.225 Ratio: 18484/9847

63. LaMonte Young, Tuning of For Guitar ‘58. 1/1 March ‘92,
inv.of Mersenne lute 1
61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +182.403712 Ratio: 10/9 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +590.223716 Ratio: 45/32 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +1017.596288 Ratio: 9/5 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)
64. LaMonte Young’s Well-Tuned Piano

61 = Cents +176.64591 Ratio: 567/512
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +239.606814 Ratio: 147/128
64 = Cents +470.780907 Ratio: 21/16 (JUST)
65 = Cents +443.516816 Ratio: 1323/1024
66 = Cents +674.690909 Ratio: 189/128
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +737.651813 Ratio: 49/32 (JUST)
69 = Cents +968.825906 Ratio: 7/4 (JUST)
70 = Cents +941.561815 Ratio: 441/256
71 = Cents +1172.735908 Ratio: 63/32 (JUST)

65. Thomas Young - well temperament (1807). Also Luigi
Malerbi nr.2 (1794)
61 = Cents +90.224996 Ratio: 256/243
62 = Cents +196.09 Ratio: 10851/9689
63 = Cents +294.134997 Ratio: 32/27 (JUST)
64 = Cents +392.18 Ratio: 3843/3064
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +588.269995 Ratio: 1024/729
67 = Cents +698.045 Ratio: 8182/5467
68 = Cents +792.179997 Ratio: 128/81 (JUST)
69 = Cents +894.135 Ratio: 2427/1448
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1090.225 Ratio: 18484/9847
Original 1/1 on C#, here it is set to C.

61 = Cents +111.731285 Ratio: 16/15 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +315.641287 Ratio: 6/5 (JUST)
64 = Cents +386.313714 Ratio: 5/4 (JUST)
65 = Cents +498.044999 Ratio: 4/3 (JUST)
66 = Cents +609.776284 Ratio: 64/45 (JUST)
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +813.686286 Ratio: 8/5 (JUST)
69 = Cents +884.358713 Ratio: 5/3 (JUST)
70 = Cents +996.089998 Ratio: 16/9 (JUST)
71 = Cents +1088.268715 Ratio: 15/8 (JUST)

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C O M PA C T 5 - V O I C E P O LY S Y N T H

©2021 Sequential LLC

For Technical Support, email: [email protected]

This device is to be serviced by a Sequential-qualified technician only. Service technician

CALIFORNIA PROP 65 WARNING

THE TAKE 5 SOUND DESIGN TEAM

Special thanks to Robert Rich for the alternative tunings.

Take 5 User’s Guide ﻿ v

So hook it up, turn it up, and start making music!

vi A Few Words of Thanks Sequential

A Few Words of Thanks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . vi

Chapter 1: Getting Started. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2: Take 5 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Take 5 User’s Guide A Few Words of Thanks vii

Chapter 3: Creating Sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Appendix C: Troubleshooting and Support. . . . . . . . . . . . . . . . . . 71

viii A Few Words of Thanks Sequential

Appendix F: Alternative Tunings. . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Take 5 User’s Guide A Few Words of Thanks ix

This chapter of your user’s guide provides an overview of essential tasks

We’ve designed the Take 5 to be as easy to use as possible. Its essential

Take 5 User’s Guide Chapter 1: Getting Started 1

Rear Panel Connections

1. Power On/Off—This rocker switch controls power on and off to the

2. AC Power Connector—Accepts a standard, grounded IEC power

3. Electric Shock Hazard Warning—These symbols warn that you risk

4. USB—For bidirectional MIDI communication with a computer. The

5. MIDI In, Out, Thru—Standard 5-pin MIDI DIN connectors for

6. Footswitch—Accepts a momentary, normally open or normally closed

7. Pedal—Accepts a standard expression pedal that has a variable resis-

2 Rear Panel Connections Sequential

8. Audio Outputs—Unbalanced, ¼ inch audio outputs. The Take 5

9. Headphones — ¼ inch stereo headphone jack. Headphone volume is

Setting Up the Take 5

3. Turn on the Take 5.

Take 5 User’s Guide Setting Up the Take 5 3

To calibrate the oscillators and filters:

1. Press the global settings button.

Listen to the Factory Sounds

The Bank and Program Select controls

4 Setting Up the Take 5 Sequential

To choose program 512, for example:

1. Hold bank and press 5. Release the bank button.

Using the Main Display

The main display

Take 5 User’s Guide Setting Up the Take 5 5

Creating a Program from Scratch

To recall the Basic Program:

1. Press the global settings button.

To save a User program to the same preset location:

1. Press the write button. The LED begins blinking.

6 Setting Up the Take 5 Sequential

1. Press the write button. Its LED begins blinking.

Live Panel Mode

To enter live panel mode:

To return to preset mode:

• Press the preset button again to toggle it on.

Take 5 User’s Guide Setting Up the Take 5 7

In essence it enables you to transpose the lower half of the keyboard

Take 5 User’s Guide v