Sequential

sub per voice. Both VCOs feature a
continuously variable waveshape
going through sine, saw and pulse
options and Osc 1 will sync to Osc 2.
There’s also a variable pink to white
noise generator in the mixer section.
While the fi lter on Take 5 is the
same as the 4-pole analogue, self
oscillating resonant fi lter from the
Prophet-5 Rev 4, and both synths
feature a Vintage knob to introduce
more unstable analogue elements to
your sound, the similarities between
the two synths start to dwindle from
here on in as you discover Take 5’s
many other features.
In terms of additions, Take 5 has
two LFOs (P5 has one), a feature-
packed arpeggiator, 64-step
polyphonic sequencer, two DADSR
envelopes, an FM switch for classic
bells and whistles, an extra Overdrive
control and two effects generators,
one a reverb, one a multi-effect with
chorus, delay, ring mod and more.
While P5 has the quite glorious
Poly Mod feature where you can
combination to access the bank and
then each of the 16 sounds within it
assigned to its own button.
Many presets are tied to the
arpeggiator for obvious impact that
will have you reaching for the Filter
Cutoff dial to increase the drama.
Others worth auditioning include
AnalogFM (106), a sound that
perhaps not surprisingly morphs
between an analogue lead and
electric FM piano – and is far better
than how I’ve described it.
FreewayDrivin (111) is perhaps
Sequential’s arpeggiated take on
Autobahn (grab that Filter dial again);
Gnarly Tenths (115) really
introduce simple but dramatic
modulation in an instant – one of my
favourite features of the synth – Take
5 has more modulation options that
will cover that, albeit perhaps not so
easily and quickly to implement.
There’s certainly more fl exibility and
depth available, which handily brings
us to said sounds…
You can’t avoid Take 5’s roots as
you go through its factory presets – it
boots up with one called 80s Cal
Dreamin, a big fat, clean lead straight
from that decade – but the synth very
much drags you forward beyond that.
There are eight banks of 16 Factory
sounds accessed with a dual-button
COMPARING TAKE 5 WITH A PROPHET-5
OK, so Take 5 is a quite different proposition to a Prophet-5 in many ways, but it does share a
similar core architecture and, of course, that fi lter, so we’re almost duty bound to make comparisons.
I don’t think they are aimed at the same markets – just look at the price and feature differences
– but you still can’t deny that Sequential have launched Take 5, for better or for worse, with a kick
up its backside from the P5.
Comparing raw tones, you can quite easily reset both synth presets back to a raw waveform
('Basic Preset’ on the P5 and ‘Basic Program’ on the T5) and then tweak each to match parameter
values. Honestly, I could tell little difference with the raw waveforms; both synths were swapping
around, sounding brighter or
duller than one another on
occasion, but broadly
identical. It’s pretty much
what you’d expect given the
similarities at the core level,
with the P5 perhaps
displaying slightly more grit
and dynamic range but very
marginally. Take 5 excels on
sounds with more movement,
built-in arpeggiations and
modulation; sounds the P5
can do but does rather less of
as it focusses on bigger,
classic voices. Each has their
own character, then, even if
they share core values.
THE ALTERNATIVES
Nov ation Peak
£1,350
Another synth that
very much bridges
both analogue and
digital albeit with
extra wavetables and
three more notes of
polyphony. Peak has
as many varied and
quality sounds but
will cost you just that
bit more.
novationmusic.com
Sequential
Prophet-5
£2899
M ore classic sounds
and architecture, an
arguably bigger and
brighter sound and
most defi nitely a
bigger footprint. And
you’ll pay a lot more
for it.
sequential.com
Korg Prologue
£1,399
8-voice analogue
synth with effects.
Really easy to
program and sounds
great. Just one of
many choice polys in
this crowded sector
of the synth market.
korg.com
You can’t avoid Take 5’s roots
but the synth drags you
forward beyond that
Reviews | Sequential Take 5
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