"Purchased from Bell Tone Synth Works a few years ago who had completely restored it. It's in beautiful condition and sounds amazing. Though there are other poly aftertouch keyboards on the market now, none have the feel of the Prophet T8. It has the latest firmware update. Check out the video for a demonstration of the polyphonic aftertouch."
"Full MIDI implementation, 76 full size weighted keys with velocity and aftertouch, split/layer double/unison keyboard modes, and a simple real-time sequencer. The new keyboard features many dynamics enhancements, ie: aftertouch can affect pitch, level, filter or the LFO."
Features: 8 Voices, each with – 2 VCOs – 2 envelopes – VCF – VCA LFO (0,005 – 40 Hz) Noise Poly Modulation: Sources: Filter Envelope, Oscillator B Destinations: Freq A, PW A, Filter Polyphonic Aftertouch (Pressure Modulation) to – Frequ A – Frequ B – PW – Filter – Amp – LFO Amount – LFO Frequency
"An extremely rare member of the TR family with a built in amplifier and speakers with a surprising amount of bottom end and volume. The TR-700 has quite a few familiar rhythms with fader volume control over the bass, snare, cymbals and claves allowing for some clever little live performance tricks."
"A follow up to our main Astrolab review, Nick takes a tour through some of his preferred presets on this Stage Keyboard from Arturia.
He also spots a few extra shortcuts and features."
"First of all, I put 'masterclass' between quotes because I am not a master. I can call myself an 'expert' after +10.000 hours of patching but that's no guarantee for good information. However, you wouldn't be interested in watching modulation basics either. So my 'masterclasses' are more like sitting around the campfire, telling ghost stories, and we're all equal.
I've been inspired by a subscriber, who pointed to his beloved Rossum Trident/Triton as his/her/their favorite VCO. I looked it up, decided there's too much overlap with my THREE-BODY VCO, but noticed something interesting called 'Zing modulation'. It's a recipe based on ring modulation, with the simple trick of syncing the carrier and modulator. Dave wrote he may have been the first person who ever used the term 'hard-sync', but credited the technology to Serge Tcherepnin. Suddenly I was lost and inspired in a new world of modulation I did not know about. Since it's a recipe instead of a circuit, we can all use it as long as your VCO has a Sync input, and you have a ringmod in your case. If you don't, get one. It's an essential piece and it costs nothing.
I can't explain Zing modulation (ZM) without Ring modulation (RM) without thru-zero amplitude modulation (AM) and when the bloody TZ comes along I am aways reminded that I am still clueless about thru-zero FM. I've seen good, bad and no explanations about TZFM. I know it preserves pitch, it's been restricted to digital - but now it's also possible with analog - and it needs to be supported by the VCO. You can't seem to patch it up, the VCO should do it. I have a problem with things that can't be done. It's not that I am stubborn, an important aspect of creativitiy is to never give up. And to be confident you'll figure it out eventually. Thanks to Dave Rossum's recipe, I wondered if I could ringmod my modulator VCO before it goes to my principal VCO's LIN-FM. It can't possibly be amplitude modulation anymore. I experimented with ring-modulating the modulator with an inverted version of itself, so it would flip polarity and go thru-zero. I don't know if this qualifies as true thru-zero so I call it WTFM.
Anyway, this video can keep you busy for weeks. Happy Patching! Robert.
00:00 Intro 00:52 Amplitude Modulation 01:44 Frequency Modulation 02:47 Ring Modulation 04:12 Zing modulation by Dave Rossum 04:52 Thru-Zero Linear Frequency Modulation 05:59 Thru-Zero Linear WTF Modulation by Cinematic Laboratory 08:17 A few Ring Mod alternatives 09:32 Zing along with Serge and Dave"
"It only made sense to feature the Take 5 right after featuring its Oberheim cousin. They are really only related in price and form factor, however. The sound is quite different, and I imagine many people will wonder how they compare. To me, the comparison is just the same as a Prophet 5 and vintage OB: the Sequential sound is thick, almost chocolatey, while Oberheim has an inherent sharpness or brassy character. All synths have some overlap, but that's how I'd describe it. It feels like the Take 5 is a bit too new to call it underrated, but this thing sounds fantastic. Even I ignored it for a long time, mainly because of the name. Seriously! I looked up synonyms for "prophet" and "Druid 5" or "Augur 5" would've been cooler names. I can't explain why, but "Take 5" is lame to me, haha. All in all, this thing has the Sequential/Prophet vibe. That thick and rich character oozes out of this thing, but with enough of its own personality coming through as well. If you want a relatively affordable polysynth that feels and sounds substantial, and like the small form factor, this one might be for you.
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