i do not have a p12 but yes, i meant in the same way that you can recursively modulate the Take-5’s env 1 attack, decay, sustain, or release with env1 in the mod matrix to give it a more exponential snappy curve in the positive direction or a more logarithmic curve in the negative depth direction
still haven’t tried it yet but it’s worth a shot. just wondered if it was even possible on a take-5 because i might not notice if i do something wrong
couldn’t agree more
sounds very promising. now i have to try and decide between that and the hydra explorer. gonna be tough but i am cheap so it’s not looking good
Just had a go and e.g. “ENV 1 -> ENV 1 Attack” achieves this. I don’t think there’s a “ENV 1” modulation destination, so if you want to affect multiple stages of the envelope, you need multiple mod slots.
right. im not asking about that. that was an example of what you can do. you can modulate any or all envelope segment destinations with the envelope itself as the source. it works best on attack and mostly decay in my experience, with about +60 and up
the question is, can you do it with lfos on the Take-5
The Prophet 12’s not a sweet spot instrument. Some call it harsh and sharp and yes, it’s easy to get lost and find yourself in unpleasent places with the P12. But it’s not hard to find those beautiful and unique ones either, it’s not a difficult synth to learn. You just need to pay attention to what it’s telling you, and then you’ll be all right.
I’m finding more and more that if I need a poly to play and explore, the Take 5 is an obvious first choice. It fits easily on the table, it has a decent keybed, and it sounds fantastic. I have (or have had) plenty of other synths, but the Take 5 definitely makes a lot of sense for me.
No, not a replacement. But the Deckard’s has a particular sound to it, as well as an unusual (for 2022) architecture, that makes it special. I love the Deckard’s for what it specifically does.
The Take 5 definitely does some things that the Deckard’s doesn’t, though: It has a full-sized keybed, occupies the stereo field, has a little more versatility, etc.
i was kind of disappointed that the Take-5 did not have the looping envelope 3 that the rev2 had, because my favorite type of modulation is the maths style “function generator” cycling envelope with an exponential curve. it has a special type of modulation that feels more organic or maybe even mechanical to me. hard to describe
anyway, i finally remembered to try it while i was at my desk and i can’t tell if that is exactly whats happening, but you definitely get very cool results if you modulate the lfo 1 or 2 “freq” with the lfo 1 or 2 itself as the mod source. it sounds like its just changing the speed at first (or at lower mod depths), then at around +114 it gets very snappy and slightly more erratic even. i really like the result. it sounds beady(?) or something plucky i guess. i can only imagine it’s creating a more exponential bend in the lfo shape
I am still curious about what is technically happening, because even with a scope, its hard to visualize just the lfo. maybe there’s a better way, like modulating the pitch with it but so far i’ve only tried it on filter cutoff. that’s what i was initially trying to figure out with my original question. some people seem to know those technical sort of specs or “tricks” that i can’t always find online
I encourage everyone interested to try setting lfo1 (triangle) to filter cutoff (around +100 maybe) in the mod matrix, then setting lfo1 to lfo1 freq in the next mod slot, and increasing it to about +114. then increase the lfo1 speed to about 2:15
and if you want to go a little further, to then
set the cutoff to about 11o’clock,
lfo2 (reverse saw, speed around 11:00) to env1 amount (+100) in the mod matrix
with env1 sustain & amount set around 1:30,
and in the next mod slot, set lfo2 to lfo2 freq at +114 mod depth
great track. very nice to see you still enjoying the take-5. i’ve always been a big fan of your sound
i am still astonished by the sounds i can get out of this thing with very little effort. but when i dive in deep, it really rewards complex patching. can’t say that for the many other modern polysynths i’ve tried. in terms of just gorgeous overall sound + flexible synthesis, it cannot be beat. i am still making mind blowing patches all the time and when i revisit old ones i haven’t heard in a while i am blown away by how well they sound. i have never felt such a connection to a synth.
i think i’m just really amazed that it can sound as unique and modern as the dco sound of the rev2 but still has the super strong rich syrupy character of a classic vco prophet. combined with the fm implementation, nice fx, beautiful filter, and all of the mod possibilities, it makes it the most powerful synth i can think of
i have even considering grabbing a pro 3 as a second voice to run alongside it
i thought this old one that i made early on and just recently re-discovered sounded pretty cool as an expansive but still lo-fi, almost Lorn-style warbly timbre
The “Encephalitis User Banks” uploaded by “EncephalitisLethargica” under The Public Bank Library header
if anyone wants to preview or import them, i think there are some pretty good ones in there:
this site is really nice. Once you connect via Usb/Midi on the Take5 Page, you can click on one of the Banks on the left hand side and all of the presets within that bank show up on the right side of the screen.
Then, you can select each preset one by one by clicking on them and they will temporarily be sent to your Take-5’s preset buffer so you can preview and play them before importing
Let me know what you think. I hope at least a few people enjoy some of them
This sound you posted at the bottom is, frankly, amazing. I need to get out of the “warm pad” territory that I love so much with this synth. But yeah, I hear you that the Take 5 really seems quite versatile and sounds great in a variety of styles. I want to make a sound like this!
Exploring the Take 5 and, once again, I cannot convince myself to get away from that warm analog pad sound. The Take 5 can do a variety of great things, but I just love switching it on and getting lost in these pads.
Here, I used it with a piano improv on cassette tape, the Soma Cosmos, and some guitar for good measure. The way the Take 5 pulls the chords out at the end really made the song come together for me. Love it.
Thanks, it’s “Pulse Fm” from bank 7 (or 8?) if you want to preview/upload it via that laser mammoth site I linked above and reverse engineer it. I forget what I did there but I hit some sort of magic.
That’s the thing though, there is so much potential for sweet spot magic. Osc2 fm to filter cutoff adds some real almost lofi texture to any patch, voice spread and all kinds of fm+hard sync bring out such unexpected timbral shifts, especially when you start using recursive modulation and modulating mod slots and using the vintage knob, and using the envelopes on the drive and overdrive params. there’s so much there, i feel like its the closest to a complex oscillator in a polysynth that you can get while still retaining that smooth rich musical sound you get from other prophets.
i think if you can get creative, subtle modulation on osc2’s shape and level (very carefully and somewhere between saw and wider pulse/square) and also using the osc2 for cutoff & osc1 fine or even osc1 freq, you can get the wild warbly but still relatively contained sounds that work in most musical contexts; as long as the “fm” button is engaged. oh, also the flanger effect with pretty slow time, mid depth, and pretty high mix is so nice on patches like that as well.
i feel you on the warm pads. most of the time i start from the init “basic program” and it takes me a long time to stray away from the original state because i just sit there and let chords drone out (sometimes even just hit the “hold” button and play with the filter ) for a very long time.
i wish more people would buy this thing, so it gets the recognition it deserves, and so more people were sharing tips and tricks like they do with new elektron devices. i still have a feeling that it wont be as underrated in a few years, sort of like the prophet 8. but if it were more widely praised, i think we would see an enormous amount of incredible sound design cming out of these machines
this is so lush, i really love the piano recording but that T5 patch kills. something about the way it fits in a mix is just perfect. very nice work as usual
