Yeah - hope so. I bought this because it had it’s own sequencer. Just submitted a ticket
Yes, I have a similar issue.
In my DAW (Bitwig) I have to adjust sync-compensation to 9 ms for my other devices for them to align properly with the grid. Meaning, Bitwig will send midi clock signals 9 ms early to these devices (Digitakt, Grandmother, DB-01).
However, I need to set the sync compensation for the Take 5 to -9 ms (MINUS 9 !!) for it to hit the grid. So, Bitwig sends midi clock signals LATER to Take 5, and the Take 5 in some mysterious magic way time-warps itself and actually hits the grid. Some weird combo of different midi implementations and audio inferface latency compensation going on here that I can’t figure out, but my workaround works so I don’t really care anymore. 
thanks man. i actually realized, once i removed it, that the acidbox III i had in my signal path was really muddying up all my take 5 recordings, so it sounds better than that in person, but it’s pretty hard to tell what’s going on in existing patches without any numerical values on the screen and “jump” pot mode that i use but it looks like there’s not a lot going on.
i didnt use any fm or osc sync on this one. it looks like 2 oscillators, both close to the saw wave ( i think), heavily filtered (maybe 10:00), res is 7 or 8. the filter envelope is snappy, velocity is on for both envelopes, both envelopes have almost the fastest attack possible (around 8 on amp, 7:00 on filter), decay somewhere around 9-10 o’clock, then sustain is slightly higher on the amp env and just a little above that one on the filter sustain (closer to 11:00). amp release dictates how far the filter env release can go and mine is set to 9:30 ish on amp, slightly less on filter. amount for both is near 2:00. osc 1 is set to “-1”, osc 2 is “-2”, some light filter drive., plus a little overdrive. bbd time is set to 9:00
I’m not sure exactly what this is, something to do with the velocity response from my launchpad i’m sure, but the Take-5 sounds much better to me when i play it with my Launchpad pro mk3 than with the keys most times. I do have my velocity and aftertouch mappings exactly how i like them, but i think there’s something also about how the pressure is default mapped to velocity in the init patch
sorry i cant be more precise but i did attempt to export it using midi ox. i think i did it properly, but i havent used the program much, so i’m not too familiar. if you want to try uploading it, it’s here:
D4 Program.syx (4.6 KB)
i’m very interested in the M but i dont really get the appeal if im honest with myself. it definitely looks cool and ive always wanted one of the newer Waldorf synths but the demos have not impressed me. i never knew what the microwave sounded like, or what the appeal was there, so that may be it. are there any demos you could share that you particularly liked or thought made it sound good?
I think im more interested in the Udo Super 6 desktop. I really love the Jupiter 6’s weird textures and the udo sounds like a more musical, modern equivalent to that. almost every demo i’ve heard on youtube sounds amazing, and i have a hard time finding video demos i like for most synths. that’s actually what sold me on the Take-5, the demos blew me away. and that is extremely rare for me. but the Udo seems kind of like what i wanted the Peak to be. and i think that, like with the Waldorf m, there wouldn’t be too much overlap with the Take-5 in terms of the sounds i’m trying to get from each
it seems versatile enough, but i wouldn’t think it would be anywhere near the Take-5 in terms of just core vco sound. obviously two totally different synths. but when you’re looking for something analog and poly, the Take-5 excels at packing in extremely great quality sound with some of the most versatile sound sculpting tools available in the analog realm.
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Huh, interesting. I actually clocked it to my Blackbox a few times when I played it, and I felt from time to time, there was a slight drift, especially when you pushed the polyphony with a higher BPM rate. So maybe that was real, then.
one thing i’ve been focusing on recently is how the envelopes interact with one another on the T5. i like how the sustain and the env amount interact especially. oftentimes, i will find myself wanting to modulate the sustain amount, because it effectively opens up the cutoff further. the sustain isn’t a mod destination option, but “env amount” is. i like to try and make the filter sound as if i’ve taken the cutoff knob, flicked it to the left real hard and quick, then a little more gradually pulled it back open, exponentially.
for this, i’ve been setting env 1 to aux and 2 to Filter+Amp, then setting filter cutoff pretty low and env2 amount at almost 12o’clock with velocity on. then, i map env1 to env2 amount. i make the attack of env1 very slow, decay pretty slow-maybe slightly more than halfway up, sustain around 9, release around 9/10 and amt at like 2. after that, i modulate the env1 decay and attack with env1 set to an amount of 40+ or more. it’s not perfect but i really like the sound and flexibility. ideally, it would have 7 stage complex envelopes like a cz101 or the jd-800 OR have the ability to make the envelopes 1-shot (which i really hope can be done in a future fw update, along with looping envelopes), so i can kind of reverse envelope the decay stage with a one shot reverse saw lfo with a negative dc offset or something. maybe i should also be delaying env2 and putting a negative retrigged slow lfo on cutoff
im not entirely certain what the Filter+Gate mode does. It seems like it’s not just an amp gate, since you can still set the envelope stages. is it that its gated rather than triggered? i dont really understand what’s happening in this mode
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.
(From the manual)
This is something generally seen on older synths, where the amp/VCA could be simply gated, instead of controlled by envelope. If you have a sound where the opening of the filter really defines the amplitude of the signal, this is a good way to free up an envelope for other purposes.
One disadvantage to the approach is that the release stage of the envelopes are essentially omitted (as they proceed from the end of a gate), although maybe Sequential compensates for this, since they don’t mention it in the manual. (I don’t have one to experiment with, but I am considering it strongly.)
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ok thanks, i think my confusion was that i thought the envelope stages were still active at times, but i think i only tried it once or twice, so it was probably my imagination
Yeah my decision mostly came down to between the Waldorf M and the Udo Super 6, to me there is definately a rawness to the M that I didn’t really find when demoing a Udo Super 6. Just made a little demo of my first 10 patches from it. Here Waldorf M - #340 by bwo but yeah I dunno maybe the Ms sound is more an aquired taste than the Super 6 or Take 5
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Ah so its the take5 sequencer with the issue? I sequence mine with my mpc so its been ok.
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May just be my unit. Serial #999 or 666 if you want to look at it that way 
I’ve got a ticket in with Sequential and they’re looking into it
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if anyone is interested, i finally filled all of my user preset banks. i exported them to my laptop for backup so i figured i’d share here in case anyone wants to check them out
Take-5 Presets ALL BANKS 11-16-21.syx (587.2 KB)
Summary
I think i found my new favorite patch. It’s very simple but sounds really nice to my ears:
-Initialize “Basic Program” (‘Transpose Down’ button + "-2 Low Split’ button
-Osc1 = Saw
-Osc 2 = Square
-Enable “FM” button
-Turn Osc2 Volume all the way down
-In Mod Matrix, Set “Osc2” to Source > +107 > Cutoff (destination)
-Set Filter Cutoff to 10:00, Res to 8:30
-Turn “Osc1 Sub Volume” up to 12:00
-Turn “Overdrive” up 3 notches
-Turn both Amp + Filter Envelope “Velocity” buttons on
-Filter Env: A-1:00, D-2:30, S-11:00, R-2:00, Amt-3:00
-Amp Env: A-8:00, D-10:30, S-12:30, R-2:00, Amt-2:30
Optional:
-Osc2 “Oct” to -1
-Osc1 “Oct” to +1
-Osc1 “Fine” all the way to the right
-Click “Sync” button
-Mod Matrix Slot 2: Env2 > +127 > Env1 Attack
-Mod Slot 3: Osc2 > +81 > Osc2 Fine
-Flanger on: Time-9:00, Depth-10:30, Fback 10:00
-Reverb: Mix-11:00, Damp-2:00, Pre-11:00, Decay 1:00, Tone, high(est) end of lpf
-Mod 4 Slot: Noise > -15 > OscAllFine
-Mod Slot 5: DC +4 > Osc2 Octv
-Mod Slot 6: Osc2 > +58 > OscAllShape
[Set DC offset to extreme positive or negatives on “Osc2” in Mod Matrix for pretty glass fm tones or insane buffer glitches]
Also, I just started experimenting with this today (im used to using the Digitone to midi sequence all my synths), but i am really enjoying using multiple Digitakt Midi tracks to sequence my more plucky piano-like patches on the T5:
it makes for some really nice complex melodic patterns. i haven’t quite figured out how to randomly round robin them with the multi-track step recording from the recent fw update yet though like ezbot does here at 14:00:
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i cant find the answer to this anywhere and i think i was just under the assumption that it was analog , but does anyone know if the overdrive in the T5 is digital? it sounds great, but so does the distortion effect, which is definitely digital. but the drive is more subtle and musical, which is why i assumed it was analog
If you mean the one on the left of the synth, not the filter drive, then my understanding is that it’s digital. I can’t remember where I saw/ heard that though, which is annoying 
…
The manual says this, which I interpret as digital (an “effect”) but it’s definitely not crystal clear!
The Take 5 has an Overdrive effect that is separate from the digital effects available in the Effect and Reverb sections.
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From the Specs :
DIGITAL EFFECTS
- One dedicated reverb with damping, pre-delay, decay and tone
- One multi-effect with stereo delay, BBD delay, tape delay, chorus, flanger, phaser, ring mod, vintage rotating speaker, distortion, high-pass filter
- Dedicated Overdrive effect
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I guess I probably saw that at some point and was hoping it was just placed there by mistake
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Need some advice on how to handle Sequential support. The midi clock on my Take 5 does not stay in time no matter which sequencer device is sending it clock (OT, SP-16, MPC One). See my earlier post in this thread.
I started a ticket and dialogue with Sequential support. They’ve suggested I change my sync / delay settings in Ableton. Buy a dedicated midi clock. And turn Local Midi Off on the Take 5.
Note, and I’ve responded, that I’m not using a computer to send midi clock, just recording the results to Ableton. None of my other midi gear falls out of time and I’m not sure how Local Off affects midi clock (but I tried the suggestion). Didn’t work.
So I asked if I could send the unit back and have them diagnose the problem. The support person said no.
I asked if we could do a video call so they could see my set up and clear up any confusion about how I’m hooking up the devices. The support person said they don’t have time for a video call.
Curious how you all might handle the next step here. Thanks!
Have you spoken to the retailer you bought the synth from?
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Not yet. I’m outside the two week window for returns. But I’ll reach out. Thanks!
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Are you using the build-in Sequencer or another device to sequence the Take 5?
I’m using the Take 5’s step sequencer.
The first beat lines up, after that, the Take 5 falls behind in time. Strangest thing.