Yeah, and I was glad to find that the fatar keybed used is really top notch - makes it such a joy to play! 
I already have Novation Peak and UDO Super 6, and was afraid that the Take 5 would overlap too much with these, but so far I’ve found them very complementary soundwise.
I’ve got the Peak too but I must admit a fair amount of gas for the Super 6. The more vids and reviews I see the more gas I get! 
this is a much better demo than the other sonic state (review) or reverb p5 demo, imho
i promise you, you can make sounds this gorgeous in seconds from the init patch. its a sound design beast as far as analog poly’s go, but the core sound will blow your mind as well
*Edit: I’m interested in hearing from anyone who has owned both the Take-5 and the Nymphes. I dont think i’d ever sell the T5, at least not in the forseeable future, but the nymphes sounds really good for how cheap it is. I might be able to justify owning both even though they seem to serve very similar purposes and produce pretty similar sounds
5.00-5.36 here really blew me away. very impressive for something so small and affordable. we are pretty spoiled for synth options nowadays. i remember when i had to choose between a rev2, a deepmind, a peak, a medusa, and a hydrasynth
Benn Jordan’s Nymphes review also really showcases a nice sound:
But those tiny controls would drive me nuts. Part of the Take 5’s appeal is that all the controls are right there and full size.
that’s one of the major things holding me back from that synth. plus im not a fan of those tiny faders anyway. felt kind of limiting on the Manther
recorded an example of some of the wild pulse-width Osc Sync + Fm sounds between osc1 & 2 with a little filter fm added in the 2nd half:
some unstable fm. tried fm’ing everything i could think of in the mod matrix, including other mod slots. very touchy dependent on velocity/pressure:
So I have to agree with some of the positive comments about take 5 here as well. I don’t know if it’s the filter or the fact that it has VCOs. the sound is simply ultra warm and modulating in itself, i.e. it moves, so to speak. I play e.g. with the sinus a sequenced bass on C, then it fluctuates so easily that it never seems boring. and the sound is just fat, without having mixed. it doesn’t sound dull or harsh or anything else. I can never do that so directly with the analog four. matchless. the four maybe has other strengths and remains one of my favorite synthesizers. but this take 5 is changing me so much musically that i think i might go rob a bank and buy more of these kind of synths.
what also stands out is the filter. the bass remains constant, regardless of whether I turn the filter in or out, so you can tweak the sound super cool without losing bass, which I could only solve otherwise by layering the sound. well, folks, that’s sheer madness, no plugin can keep up. peak I don’t know. but i’m pretty sure these vcos instead of dcos or pure digital osc make a lot of difference. As I said, these VCOs move really nice… just nice for my monotonous sound. I would like to have more of the take 5 synths, because unfortunately it’s not multitimbral. That’s why it means for me, to escape GAS, to only buy analogue devices, i.e. with analogue OSCs and no harsh digital rabble-rousers, which can be replicated in the DAW anyway.
addendum: and something else. this overdrive is just nice. I definitely can’t do that with the heat. the take 5 embeds itself properly and makes the sound even warmer. I’d like to know if it’s analog, anyway it doesn’t really matter because it produces very nice overtones, as it should be.
I’m impressed with the sound and I like the size of the T5. Anyone know if you can replace the plastic checks with wood or aluminum cheeks?
They’re not a plain panel. The hook onto either the top panel or base panel (I forget which) so a portion of the panel sits inside the end cheek. I guess you could get some aluminium milled to match the internal profile of the plastic end cheek? Not a straightforward job tho
seems possible. the design looks really similar to the pro-3, and at least one person has added wooden caps already:
https://forum.sequential.com/index.php?action=dlattach;topic=5110.0;attach=3450;image
Here’s a couple of pics. As you can see the end cheek hooks over the top panel and is then fixed to the bottom panel via the three recessed threaded tabs. You’d need to rout material out of the inside of the new cheek so it fits properly and to reuse the existing fixings. The end cheeks aren’t structural.
End cheek detail
You can see the fingers along top edge of the end cheek. There are 4 altogether.
Side panel detail
You can see the slots in the front panel and the three recesses for the threaded tabs at the bottom. As you can see the front panel is wider than the bottom and there are a couple of tabs that mean you can’t use a plain flat panel. You’d need to rout out material to clear these obstructions.
interesting… i might try this at some point, though not soon. the end caps on my prophet 12 module are kind of rough but look okay. i was hoping to make them thinner. they’re cherry with some light oil finish. something similar would look nice on the take 5. i routed a 1/4" channel on the bottom of each end cap to fit a piece of birch plywood underneath like a shelf. the VESA mount attaches in the middle of the ply panel. it appears there’s enough room for ventilation underneath, as the panel is only as deep as the rubber feet under the module, not the full length and depth of the module itself.
I found these. No affiliation.
Couldn’t find this info in the manual, so…
Question for Take 5 owners. When in one of the alternative tunings, do the exact pitches get outputted over midi? For example, using the Take 5 to play an alternative tuning scale in a Bitwig synth? And what about the other way round? Is midi sent to Take 5 scaled/quantised to the alternative tuning?
nice. those do look classy, but not for $100 for two small pieces of wood. i see they routed the insides to fit. will have to try making my own at some point.
I don’t own a Take5, but MIDI Note messages don’t work like that. A MIDI note number is just a note number. The tuning needs to be set in the Bitwig synth.
No, but the Take5 would respond to MIDI note messages by playing in whatever tuning you have set for it.
Haven’t seen this whole video yet but Jorb is generally a reliable source of thoughtful synth opinions. And he starts off with some Radiohead so he got my attention.
Great video that really shows how damn good this synth is.
like Jorb, but the synth didn’t sound good imo
Sounds awesome to me in person. Sold my p6 and am happy with the take5. Jorb knows what’s up.
