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99

Take 5 User’s Guide

Appendix F: Alternative Tunings

49. Michael Harrison, Ppiano Tuning for “Revelation” (2001)

Original 1/1=F, here it is set to C.

60 = Cents 0. Ratio: 1/1 (JUST)
61 = Cents -27.264092 Ratio: 63/64 (JUST)
62 = Cents +203.910002 Ratio: 9/8 (JUST)
63 = Cents +176.64591 Ratio: 567/512
64 = Cents +407.820003 Ratio: 81/64 (JUST)
65 = Cents +470.780907 Ratio: 21/16 (JUST)
66 = Cents +611.730005 Ratio: 729/512
67 = Cents +701.955001 Ratio: 3/2 (JUST)
68 = Cents +674.690909 Ratio: 189/128
69 = Cents +905.865003 Ratio: 27/16 (JUST)
70 = Cents +968.825906 Ratio: 7/4 (JUST)
71 = Cents +1109.775004 Ratio: 243/128
72 = Cents +1200. Ratio: 2/1 (JUST)

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Summary of Contents for TAKE 5

Page 1: ... C O M P A C T 5 V O I C E P O L Y S Y N T H ...

Page 2: ......

Page 3: ...User s Guide Version 1 0 August 2021 Sequential LLC 1527 Stockton Street 3rd Floor San Francisco CA 94133 USA 2021 Sequential LLC www sequential com ...

Page 4: ... the socket outlet must be installed near the equipment and must be easily accessible For Technical Support email support sequential com This device is to be serviced by a Sequential qualified technician only Service technician must exercise due caution when opening the device to avoid electric shock and the device being unsecured when open CALIFORNIA PROP 65 WARNING This product may expose you to...

Page 5: ...cque Andy Lambert Michelle Marshall Andrew McGowan Joanne McGowan Julio Ortiz Denise Smith BrianTester TracyWadley GabbyWen and MarkWilcox THETAKE 5 SOUND DESIGNTEAM Drew Neumann Francis Preve GilAssayas GLASYS Huston Singletary James Terris Julian Pollack J3PO Kurt Kurasaki Matia Simovich Paul Schilling Peter Dyer Robert Rich Special thanks to Robert Rich for the alternative tunings ...

Page 6: ...you a very compact very powerful instrument that you could take pretty much anywhere and sound great Whether it s your first synth your gigging synth or just the right synth to fit your studio space we think you re going to love it Yes it s compact but it s pure Sequential and it sounds huge So hook it up turn it up and start making music Cheers ...

Page 7: ...loring the Take 5 in More Depth 9 Chapter 2 Take 5 Controls 10 Global Settings 10 Oscillators 16 Oscillator Parameters 18 Additional Oscillator Parameters Program Menu 19 Mixer Parameters 20 Filter 21 Filter Parameters 22 Additional Filter Parameters Program Menu 22 Envelopes 23 About the Filter Envelope 24 Envelope Parameters 26 Additional Envelope Parameters Program Menu 27 About the Amp Envelop...

Page 8: ...ose 51 Hold 51 Glide 52 Glide Modes 52 Pitch and Mod Wheels 54 Pitch Wheel 54 Modulation Wheel 55 Adding Aftertouch 56 Chapter 3 Creating Sounds 58 Synthesis 101 Synth Bass 58 Creating Synth Brass 61 Turning Synth Brass into a String Pad 63 Creating a Hard Sync Lead 65 A Final Word 67 Appendix A Modulation Sources 68 Appendix B Modulation Destinations 69 Appendix C Troubleshooting and Support 71 T...

Page 9: ... Words of Thanks Appendix D Calibrating the Take 5 75 Calibrating the VCOs and Filters 75 Calibrating the Pitch and Mod Wheels 75 Resetting the Global Parameters 75 Importing Programs and Banks 77 Appendix F Alternative Tunings 78 ...

Page 10: ...n voice This chapter of your user s guide provides an overview of essential tasks such as how to make basic audio connections and how to edit and save sounds Later chapters explain each of the parameters of the Take 5 as well as how to program sounds and how to use the global menu to manage its overall behavior We ve designed the Take 5 to be as easy to use as possible Its essential controls are w...

Page 11: ...MIDI communication with a computer The Take 5 is a Class Compliant USB device and does not require additional drivers when used with Mac OS or Windows 5 MIDI In Out Thru Standard 5 pin MIDI DIN connectors for communicating with MIDI equipped devices 6 Footswitch Accepts a momentary normally open or normally closed footswitch to control sustain or to latch the Arpeggiator on when keys are held 7 Pe...

Page 12: ...he power cable into the power connector on the back of the Take 5 2 If you have an expression pedal connect it to the pedal jack on the back of the Take 5 You can use it to control volume filter cutoff and other aspects of a sound If you have a sustain pedal connect it to the ftswitch jack on the back of the Take 5 3 Turn on the Take 5 4 Connect the left and right audio out connectors on the back ...

Page 13: ...e power while it s doing this 5 When finished the front panel controls return to normal and you can play the Take 5 Listen to the Factory Sounds The Take 5 contains 256 programs These are divided into two sets of 128 programs a Factory set and a User set When the factory button is lit the 128 permanent Factory programs are active These cannot be overwritten When the factory button is not lit the 1...

Page 14: ... The most frequently used controls on the Take 5 are on its front panel But there are additional Global settings and Program specific settings accessible in its main display For example pressing the program settings button gives you access to several program related parameters such as pitch bend wheel range unison detuning envelope delay time and more You can select and edit these additional param...

Page 15: ... oscillator sawtooth basic filter settings basic envelope settings and simple mod and pitch wheel setups To recall the Basic Program 1 Press the global settings button 2 With the select knob choose the basic program command 3 Press the write button 4 The Take 5 resets its parameters to the Basic Program Shortcut for creating the Basic Program Hold down the transpose down button then press the low ...

Page 16: ...on LED is flashing press the program settings button The LED stops flashing and saving is canceled You can return to editing if you want Live Panel Mode The Take 5 also features a live panel mode in which its sound switches to the current settings of its knobs and switches In other words the current preset is ignored and what you see on the front panel is what you hear This is a great mode for lea...

Page 17: ...ad parts with your right hand The program is the same for both key ranges To use Low Split 1 Chose an appropriate sound 2 Press the 1 oct button to activate the Low Split point feature and transpose the pitch of notes below middle C down by 1 octave 3 Alternatively press the 2 oct button to activate the Low Split point feature and transpose the pitch of notes below middle C down by 2 octaves To se...

Page 18: ...ound in the Global menu that will affect the overall behavior of your Take 5 including tuning MIDI connections calibration and more In particular read about Pot Modes and determine which works best for you when you re editing sounds Also in Rear Panel Connections on page 2 read about the various connectors on the back of your Take 5 and how you can use its various pedal audio MIDI and USB inputs a...

Page 19: ...gs such as MIDI Channel Velocity and Aftertouch curves and others Press the global button to access them 120 Basic Program 1 16 BBD Up Down press to access Global menu Accessing Global settings To set a Global parameter 1 Press the globals button 2 Use the select knob to scroll through the list of parameters 3 Use the value knob to set a selected parameter Here are descriptions of all of the globa...

Page 20: ... determine how the synth reacts when the programmable parameters are edited Master volume is not programmable so these modes don t apply When set to relative changes are relative to the stored setting In Rela tive mode the full value range is not available until either the minimum or maximum value and the respective lower or upper limit of the pot s travel is reached For example the Resonance para...

Page 21: ... its polarity Connect your pedal and choose the appropriate setting based on its behavior 8 Pedal Function Breath CC2 Foot CC4 Exp CC11 LPF Full LPF Half When you use an expression pedal connected to the pedal jack to control filter cutoff this sets the range of modulation sent With lpf full selected an expression pedal connected to the filter jack will control filter cutoff frequency within its f...

Page 22: ... feature you can do so by setting it to off 14 MIDI Channel All 1 16 Selects which MIDI channel to send and receive data 1 to 16 Choosing all receives on all 16 channels 15 Clock Mode Out Sets the synthesizer s ability to send and receive MIDI clock messages off MIDI Clock is neither sent nor received out MIDI Clock is sent but not received out no s s no start and stop Sends MIDI Clock but does no...

Page 23: ...IDI Sysex On On Off Sets whether MIDI System Exclusive data will be received or ignored 22 MIDI Sysex Cable MIDI USB Sets the port MIDI or USB by which System Exclusive data will be transmitted and received 23 MIDI Out Select Off MIDI USB All Sets the port s by which MIDI data will be transmitted 24 MIDI Program Send Off On When On the synth will transmit MIDI Program Change and other SysEx messag...

Page 24: ...ngs 32 Dump Preset Transmits the current program in SysEx format via the selected MIDI port Dumped programs will load back into the same location in memory when imported back into the synth via MIDI 33 Dump Bank Transmits the current bank in SysEx format via the selected MIDI port See MIDI SysEx Cable on page 14 Dumped banks will load back into the same location in memory when imported back into t...

Page 25: ...5 has two analog voltage controlled oscillators and a sub oscillator Oscillators 1 and 2 generate sine sawtooth and pulse waves You can vary the shape of these waveshapes from one to another using the shape knob This allows for a variety of different waveshapes and timbres Pulse wave wide Pulse wave narrow Oscillator pulse width pulse wave OSC 2 OSC 1 sawtooth pulse wide sine pulse narrow The Osci...

Page 26: ...different waveshape Experiment with the pitch knob on the oscillators and notice how slightly detuning the oscil lators in relation to each other creates movement and thickness in their combined sound Try tuning one oscillator to an interval such as a third a fifth or a sixth 6 Experiment with the octave knob on the oscillators and notice how setting each oscillator to a different octave influence...

Page 27: ...nvelopes to modulate the waveshape of Oscillator 1 or 2 or both simultaneously this changes the pulse width of the selected waveform which modifies its harmonic content and timbre To learn more about about how to use modulation see Modula tion on page 34 Sync 2 1 Off On Turns on oscillator hard sync When an oscillator is hard synced its wave cycle is forced to conform to another oscillator s wave ...

Page 28: ...portamento amount Glide causes the pitch of a note to glide smoothly up or down from the pitch of the previously played note It can be set independently for each oscilla tor Low values are shorter faster The glide switch must be on to hear the effect of glide rate For a detailed explanation see Glide on page 52 Osc 2 Glide 0 127 Sets oscillator 2 glide portamento amount Glide causes the pitch of a...

Page 29: ... 2 NOISE The Mixer section Mixer Parameters Osc 1 Sets the output level of oscillator 1 Osc 1 Sub Sets the output level of the sub oscillator Osc 2 Sets the output level of oscillator 2 FM 2 1 When on applies frequency modulation from Oscillator 2 to Oscillator 1 The Oscillator 2 level knob controls the amount Use frequency modulation to create complex harmonics and metallic textures by tuning Osc...

Page 30: ...lter s cutoff knob Notice how it cuts the high frequencies as you rotate counter clockwise making the sound of the oscillator less bright If you turn the cutoff knob fully counter clockwise you ll filter out all frequencies and hear nothing 3 Return the cutoff knob to its halfway position hold down a note again then turn the resonance knob about halfway up 4 Rotate the filter s cutoff knob again a...

Page 31: ...panel program button and scrolling through the list that appears The parameter explained below does not appear on the front panel Key LPF Freq 0 127 Sets the amount of modulation from the keyboard to the filter s cutoff frequency Any setting above zero means that the higher the note played on the keyboard the more the filter opens This is useful for adding brightness to a sound as higher notes are...

Page 32: ...o the contour of the envelope There are many creative ways to use the Envelopes Use the mod matrix to route Envelope 1 or 2 to one of the oscillators fine pitch parameter to create the classic pitch blip effect used in many synth lead sounds Use the mod matrix to route Envelope 1 or 2 to one or both of the oscillators shape parameter to make their timbre evolve according to envelope s contour Use ...

Page 33: ...ects only Filter Cutoff and not Amplifier volume About the Filter Envelope Routing Envelope 1 or 2 to the Filter shapes the harmonic characteristics of a synthesized sound by giving you filtering control with each of the envelope stages attack decay sustain release A filter envelope is one of the most important aspects of a synthesized sound Without an envelope the filter would be static and uncha...

Page 34: ...elopes section turn the amount knob of Env 1 which is routed to the Filter by default to a 3 o clock position 5 Play a note Notice how the sound has changed The Filter Envelope is controlling filter cutoff by the amount you set with the amount knob 6 Repeatedly strike a note on the keyboard as you turn the Filter Enve lope s decay knob clockwise and counterclockwise Notice how it changes the sound...

Page 35: ... Sets the attack time of the envelope The higher the setting the slower the attack time and the longer it takes for the filter to open from the level set with the filter cutoff knob to the level set by the filter enve lope amount Percussive sounds typically have sharp short attacks Decay Sets the decay time of the envelope After a sound reaches the filter frequency set at its attack stage decay co...

Page 36: ...y begins About the Amp Envelope After passing through the filters a synthesized sound goes into an amplifier which controls its overall volume The Amp envelope is used to shape the volume characteristics of a sound over time by giving you control over these stages Along with the Filter envelope this is one of the most important aspects of a synthesized sound Without a volume envelope the volume of...

Page 37: ...ob to navigate to the basic program command then press write 2 Repeatedly strike a note on the keyboard as you turn the Amplifier Envelope s attack knob clockwise Notice how the attack becomes slower and more gradual the further you turn the knob 3 Reset the attack parameter to zero fully counter clockwise 4 Next repeatedly strike a note on the keyboard as you turn the Ampli fier Envelope s sustai...

Page 38: ...reate modulation that varies over time according to the shape of the envelope Routing an envelope to an oscillator s frequency for example causes the oscillator s pitch to rise and fall according to the contour of the envelope Either of the Take 5 s envelopes can be routed to any destination or multiple destinations using the modulation matrix See Modulation on page 34 for more details There are m...

Page 39: ...ncluding triangle sawtooth reverse sawtooth square and s h sample hold random Though most often used for low frequency modulation the Take 5 LFOs can actu ally function at speeds that extend into the audible range for extreme effects CLK SYNC DEST LFO 1 GLOBAL LFO 2 PER VOICE CLK SYNC DEST The Low Frequency Oscillators The triangle wave is bipolar That is its waveshape is positive for half of its ...

Page 40: ...he same timing In other words if you play a chord and strike each note within the chord at slightly different times the notes will shift their pitch together in perfect sync with each other with no variation from note to note voice to voice Compare this to the example given below for LFO 2 which is per voice Per Voice LFO LFO 2 LFO 2 is a per voice modulator that is applied to each voice individua...

Page 41: ...ation Various Routes the selected LFO to one of the many modulation destinations within the synthesizer These appear in the display You can also use the modulation matrix to route an LFO to addi tional destinations There are many ways to make creative use of the LFOs Route an LFO to the fine parameter of the oscillators to create vibrato triangle wave or random pitches s h random wave Route an LFO...

Page 42: ...the LFO does not reset on the newly played notes LFO reset is useful if you want to ensure that the full cycle of the waveshape is applied each time you strike a key LFO 2 Reset Off On When off the LFO is free running When on the LFO is re started each time a new note is played wave reset is set independently for each LFO This is useful if you want to ensure that the full cycle of the waveshape is...

Page 43: ...ange the way the targeted parameter behaves The Modulation assignment controls The idea is simple 1 Choose a source 2 Choose a destination 3 Set an amount The amount can usually be either positive or negative 120 MOD 1 ModWheel 45 Overdrive 1 16 M BBD Up Down M Indicates whether a mod source destination is mono M or poly P Indicates mod slot number amount source destination Use this knob to scroll...

Page 44: ...all front panel controls can be used as a modulation source destination Mono and Poly Modulation Sources Destinations There are two types of mod sources and destinations mono and poly In general you don t need to think too much about which to use when assigning modulation but it s useful to understand the difference A mono modulation source such as LFO 1 Global is a single modula tor that is appli...

Page 45: ...ld down the src assign button and move the Mod wheel 4 Use the value knob to set the amount to 30 5 Use the value knob to scroll through the various mod destinations and choose lfo 1 amt As a shortcut you can hold down the dest assign button and move the LFO 1 amount knob 6 Hold down a note on the keyboard and turn the Mod wheel You should hear vibrato Use pressure as the modulation source instead...

Page 46: ...ffect in many synth brass sounds choose a good two oscillator synth brass sound Set env 1 to aux and env 2 to filter amp In the Mod Matrix route env 1 osc 2 fine Set env 1 to Attack 0 Decay 9 o Clock Sustain 0 and Release 0 with an amount of 30 Route an LFO to pan to create an auto panning effect Panning width is controlled by the modulation amount Panning speed is controlled by the LFO frequency ...

Page 47: ...nison switch held down use the value knob to choose the number of voices to stack then release the Unison switch 120 UNISON 1 16 BBD Up Down 4 Voices Setting the number of Unison voices To detune the oscillators in Unison 1 Press program settings button 2 With the select knob choose the unison detune command 3 Use the value knob to set the amount of detuning A setting of 0 is minimum detuning A se...

Page 48: ...ger all notes of the stored chord trans posing them as you play up or down the keyboard Try using this feature to create powerful chord stabs To use chord memory 1 Hold down a chord on the keyboard 5 notes maximum 2 Press the unison switch The chord voicing is memorized Play a few notes to listen to the result 3 If you save the program the unison chord memory is saved with it To clear chord memory...

Page 49: ... vintage stereo chorus Flanger vintage through zero flanger Phaser vintage 6 stage phaser HP Filter high pass filter Distortion classic op amp distortion Ring Mod ring modulation Rotating Speaker vintage rotating speaker emulation Dedicated Reverb Effect 2 plate reverb with variable time tone and early reflections EFFECT TIME KNOB DEPTH MIX KNOB FBACK MISC KNOB Stereo Delay Time Mix Feedback BBD T...

Page 50: ...ch parameters each of these knobs control To add Reverb 1 Press the reverb on off button to turn it on 2 Turn the mix knob clockwise to blend in the processed signal 3 Use the decay knob to adjust the length of the reverb tail 4 Use the pre delay knob to adjust the pre delay 5 Use the tone knob to shape the frequency content of the reverb The tone parameter uses both high pass and low pass filteri...

Page 51: ...nts To add even more vintage character we designed the vintage knob which introduces parameter variations from voice to voice This type of behav ior was a big part of why vintage synths sounded so warm organic and alive Turning up the vintage knob adds progressively more variation between voices Try it out VINTAGE The Vintage knob To use the Vintage knob Turn the vintage knob clockwise to add prog...

Page 52: ...or The Arpeggiator allows you to hold a chord and the synthesizer will play a pattern based on the individual notes held You can adjust the playback mode up down up down random assign the octave range 1 2 or 3 the number of repeats per note and the tempo The Arpeggiator usually works best on sounds with a fast attack While you hold down a chord pressing any additional notes will add those notes to...

Page 53: ...sync the Arpeggiator to external MIDI clock CLOCK ARPEGGIATOR STEP SEQ REPEAT TAP TEMPO BPM CLK DIVIDE ON OCTAVE RECORD MODE PLAY The Arpeggiator To use the Arpeggiator 1 Press the Arpeggiator on off button to turn it on 2 Hold down one or more notes on the keyboard The Arpeggiator plays them according to the settings you ve chosen 3 To latch arpeggiation on so that you don t have to continuously ...

Page 54: ... this mode pressing the Sustain pedal once causes the Arpeggiator to hold the sequence even when you release the notes on the keyboard Pressing it again stops the Arpeggiator arp hold mom With the Arpeggiator running in this mode pressing and holding the Sustain pedal causes the Arpeggiator to sustain even when you release the notes on the keyboard for as long as you hold down the pedal Releasing ...

Page 55: ...p notes parameter 2 Use the value knob to select on To control an external MIDI device 1 Connect the MIDI or USB output of the Take 5 to the MIDI or USB input of the external device depending on which type of connection the external device requires 2 On the Take 5 press the global button then use the select knob to locate the midi cable out parameter 3 Use the value knob to select midi usb or all ...

Page 56: ...e notes one octave above them arpeggiate Set to 3 the held notes and the notes one and two octaves above them arpeggiate Repeat 1 2 3 Set to off each note in the arpeggio plays once Set to 1 each note in the arpeggio plays twice Set to 2 each note in the arpeg gio plays three times Set to 3 each note in the arpeggio plays four times Relatch in the Program Menu Off On Works in conjunction with hold...

Page 57: ...x 6 Sixteenth note triplets 1 32 BPM x 8 Thirty second note 64th BPM x 16 Sixty fourth note Tap Tempo Pressing the tap tempo button 4 times sets the tempo The LED flashes at the BPM rate you set Step Sequencer The step sequencer allows you to record a series of notes and chords of up to 64 steps in length You can record up to a 5 note chord on each step It records note and velocity data but not ti...

Page 58: ... 5 When you re done press play to listen to your sequence Use the bpm value or tap tempo controls to adjust sequencer playback speed 6 To save the sequence save the program and they are saved together If you want to play live along with the sequencer be sure to leave voices avail able In other words don t play 5 note chords for every step in the sequence To transpose a sequence 1 Press play The se...

Page 59: ...the same volume from program to program 120 PROGRAM 127 1 16 BBD Up Down 15 ProgVolume Setting Program Volume in the program menu To set the volume of an individual program 1 Choose a program 2 Press the program button to the lower left of the display 3 Use the select knob to locate the progvolume parameter 4 Use the value knob to set the volume level 5 Press the write button twice to save the pro...

Page 60: ...s so that MIDI notes sent are also transposed Trans pose settings are global and are not saved with individual programs Note that press one of the Transpose button won t affect any keys currently held down It only affects keys notes played after you have transposed the keyboard The Transpose controls Hold When hold is on any notes played will continue to play until hold is turned off When used in ...

Page 61: ...odes that determine how glide behaves You can set your preferred mode using the program menu Fixed Rate The time to transition between notes varies with the interval between the notes the greater the interval the longer the transition time The glide rate is fixed This is the default glide mode Fixed Rate A The same as Fixed Rate but glide is only applied when playing legato That is glide only occu...

Page 62: ...rately for each oscillator 1 Press the program button 2 Use the select knob to locate the osc 1 glide parameter 3 Use the value knob to set the amount as you play a series of notes up and down the keyboard to hear the effect 4 Once you ve chosen the desired amount of glide for oscillator 1 use the select knob to locate the osc 2 glide parameter 5 Use the value knob to set the desired amount of gli...

Page 63: ...se a range of 2 semitones a whole step since this is the bend range of many acoustic instruments For guitar whammy bar effects you many wish to set a wider range To set the pitch bend range 1 Press the program button 2 Use the select knob to locate the pitch bend up parameter 3 Use the value knob to choose a bend interval 4 Hold a note and move the Pitch wheel to hear the effect 5 Once you ve set ...

Page 64: ... to scroll to Mod Slot 1 if it s not already displayed 2 Use the value knob to scroll through the various mod sources and choose mod wheel 3 Use the value knob to to scroll through the various mod destinations and choose a parameter such as cutoff 4 Hold down a note on the keyboard or press the hold button and play a note on the keyboard and turn the Mod wheel 5 Use the value knob to set the modul...

Page 65: ...ke 5 provides monophonic or channel aftertouch which means that applying pressure to any key within a chord will apply modulation to all notes currently held The Mod Matrix lets you choose the amount of modulation applied using aftertouch and also which parameters are modulated oscillator frequency filter frequency sand so on You can set either a positive or negative amount For example if you sele...

Page 66: ...ct 6 Use the value knob to set the amount to your preference Higher amount settings add greater modulation the harder you press a key A negative amount setting will apply modulation in the negative direction The Take 5 provides eight different aftertouch pressure response settings The default setting provides a linear response To choose a different response curve use the aftertouch curve parameter...

Page 67: ... much else So start with the Basic Program and go from there Short Version To create a classic synth bass 1 Press the global button 2 Use the select knob to navigate to the basic program command then press the write button to set the synth to the Basic Program 3 In the basic program only Oscillator 1 is audible The levels of Oscil lator 2 and the Sub Oscillator and Noise are set to zero in the Mix...

Page 68: ...m is a good starting point for sounds because it has plenty of harmonics This gives you a lot to work with in terms of a raw sound that you can filter and modulate The pulse square wave is a good starting point too but sounds differ ent than the sawtooth because of its different harmonic content The sawtooth has even and odd numbered harmonics and the square wave has odd numbered harmonics Google ...

Page 69: ...velope to modulate open the filter as much as possible according to the shape of the envelope its attack decay sustain and release settings 7 Set filter resonance to a 9 o clock position This gives the synth bass its funky zap 8 Play some low notes and listen to the sound Classic synth bass To tweak the sound 1 Experiment with the Filter Envelope s amount knob Notice how greater amount settings am...

Page 70: ...liary envelope to modulate the pitch of oscillator 2 to simulate an aggressively blown horn effect To create synth brass 1 Press the global button 2 Use the select knob to navigate to the basic program command then press the write button to set the synth to the Basic Program 3 In the mixer turn Oscillator 2 fully clockwise to maximize its volume Osc 1 is already at full 4 In the oscillators sectio...

Page 71: ...hen use the value knob to set it to 5 5 Use the select knob to scroll to the destination field then use the value knob to choose osc2 fine 6 Play some notes in the upper range of the keyboard Classic synth brass 7 Experiment with different envelope amount and decay settings 120 MOD 3 Env 1 5 Osc2Fine 1 16 P BBD Up Down P Indicates mod slot number amount source destination Use this knob to scroll t...

Page 72: ... String Pad More Lush Now lets make the string pad more lush by using the LFOs to modulate the oscillator waveshapes and recreate the classic pulse width mod strings found on many vintage synths To use waveshape mod to make the string pad more lush 1 On Oscillator 1 set the shape knob to 2 o clock square pulse wave 2 On Oscillator 2 set the shape knob to 2 o clock square pulse wave as well 3 In th...

Page 73: ...feedback misc to 12 o clock 6 Set depth mix to 12 o clock 7 Play some chords Retro string machine For even more dramatic phas ing set depth mix and feedback misc to 3 o clock 8 Experiment with changing the effect to the flanger or chorus and adjust their settings to your preference Adding Reverb to the String Pad Adding reverb can also enhance the string sound in a very lush way To add Reverb to t...

Page 74: ...allow for a wide range of pitch modulation in step 9 7 Set Oscillator 2 s octave to 2 This will help create a more aggressive hard sync effect 8 In the envelope section set the envelopes to env 1 aux and env 2 filter amp This will allow you to use Envelope 1 as an auxiliary envelope that will modulate the pitch of oscillator 1 9 Press the mod button In the display use the select knob to choose env...

Page 75: ...e this knob to set the mod source mod amount mod destination select value Adding Effects to the Lead You can enhance the sync lead by adding some delay and reverb To add effects 1 In the effects section press the effect 1 button 2 Use the type knob to select delay 3 Set time to 12 o clock 4 Set depth mix to 9 o clock 5 Set feedback misc to 9 o clock 6 Play some notes Perfect hard sync lead ...

Page 76: ...reate by using these as starting points then modulating the filters oscillators and even effects with LFOs Envelopes and other modulation sources It s often useful to start with a simple sound and make it progressively more complex while saving edited versions as you go so that you can retrace your steps and branch off at different points in the sound design process if you want ...

Page 77: ... Sources Sequential Appendix A Modulation Sources No Source Osc 2 Noise LFO 1 LFO 2 Env 1 Env 2 Voice Spread Pitch Bend Mod Wheel Pressure Breath Foot Pedal Expression Pedal Velocity Note Number Filter Out Random DC Audio Out ...

Page 78: ...ount Mod 9 Amount Mod 10 Amount Mod 11 Amount Mod 12 Amount Mod 13 Amount Mod 14 Amount Mod 15 Amount Mod 16 Amount Appendix B Modulation Destinations No Dest Osc 1 Octave Osc 2 Octave Osc 1 Fine Freq Osc 2 Fine Freq Osc All Fine Freq Osc 1 Shape Osc 2 Shape Osc All Shape Osc 1 Level Osc 2 Level Osc FM Level Sub Level Noise Drive Cutoff Resonance Overdrive Panning FX Mix FX Time FX Misc Reverb Mix...

Page 79: ...70 Sequential ...

Page 80: ... arpeggiator has stopped running Check the midi clock mode setting in global to ensure the Take 5 is set to out or off Or if set to in or in thru or in no s s make sure the Take 5 is receiving MIDI clock If some of the programs sound different than usual In the Global menu check scale alt tuning and make sure it s set to equal temperament Also check the Mod wheel position The Mod wheel can do more...

Page 81: ...ake sure local control is on in the global menu If MIDI System Exclusive data is not transmitted received Make sure that the midi sysex cable setting in the global menu is set to usb or midi depending on which you are using to transmit or receive MIDI messages If the Take 5 plays out of tune Check the master coarse and master fine parameter in the global menu to make sure they are both set to 0 Yo...

Page 82: ...ect reset globals then press write Globals are reset You can now can play the Take 5 again Contacting Technical Support If you are still having a problem with the Take 5 contact Technical Support at support sequential com Please include the purchase date of your Take 5 its serial number and the operating system version Press the global button to see this at the bottom of the main display If you ha...

Page 83: ...rse of action for getting your Take 5 repaired For your own protection as well as ours please do not return any product to Sequential without a return authorization RA number To issue an RA number Technical Support needs Your name Your return address Your email address A phone number where you can be reached Your Take 5 s serial number The date of purchase and where purchased If you need to return...

Page 84: ...is 4 When finished the front panel controls will return to normal and you can play the Take 5 again Calibrating the Pitch and Mod Wheels To calibrate the Pitch and Mod wheels 1 Press the global button 2 Use the select knob to select cal wheels then follow the instructions in the display 3 When finished press the global button again to exit the global menu You can now can play the Take 5 again Rese...

Page 85: ...ob to select midi sysex cable then use the value knob to choose usb 5 Use the select knob to select dump preset dump bank or dump all banks depending on which of these you would like to do 6 Press write The program or bank is exported Dumped programs will load back into the same bank and program location in memory when received by the Take 5 via MIDI Programs can also be dumped directly from one T...

Page 86: ...a computer and an appropriate software application To import a program or bank as a SysEx file over MIDI 1 Connect your synthesizer to a computer using a USB cable or MIDI cable if you are using a dedicated MIDI interface 2 Press the global button on the Take 5 3 Use the select knob to select midi sysex cable then use the value knob to choose usb or midi depending on which port you are using to co...

Page 87: ...ased on the twelfth root of two 2 Harmonic Series MIDI notes 36 95 reflect harmonics 2 through 60 based on the funda mental of A 27 5 Hz The low C on a standard 5 octave keyboard acts as the root note 55Hz and the harmonics play upwards from there The remaining keys above and below the 5 octave range are filled with the same intervals as Carlos Harmonic 12 Tone that follows 3 Carlos Harmonic Twelv...

Page 88: ...28 81 27 16 16 9 243 128 9 Just Intonation in A with 7 Limit Tritone at D A rather vanilla 5 limit small interval JI except for a single 7 5 tritone at D which offers some nice possibilities for rotating around bluesy sevenths A 1 1 440 Hz 1 1 16 15 9 8 6 5 5 4 7 5 3 2 8 5 5 3 9 5 15 8 10 3 5 Lattice in A A pure 3 and 5 limit tuning which resolves to very symmetrical derived relationships between ...

Page 89: ...lative to the second C 1 1 261 625 1 1 16 15 9 8 6 5 5 4 4 3 45 32 3 2 8 5 5 3 16 9 15 8 15 Yamaha Just Minor C Similar to Yamaha s preset Just Major the Just Minor gives preferential treatment to minor thirds on the sharps and has a good fifth relative to the second C 1 1 261 625 1 1 25 24 10 9 6 5 5 4 4 3 45 32 3 2 8 5 5 3 16 9 15 8 16 Harry Partch 11 Limit 43 Note Just Intonation One of the pio...

Page 90: ...appears in some elec tronic keyboards designed for use with Arabic music Not a JI scale nor equal tempered These are the intervals in Cents relative to C 60 Cents 0 61 Cents 151 62 Cents 204 63 Cents 294 64 Cents 355 65 Cents 498 66 Cents 649 67 Cents 702 68 Cents 853 69 Cents 906 70 Cents 996 71 Cents 1057 72 Cents 1200 ...

Page 91: ...some unusual relationships note 0 0 note 1 63 note 2 189 note 3 253 note 4 379 note 5 505 note 6 568 note 7 695 note 8 758 note 9 884 note 10 947 note 11 1074 note 12 1200 19 12 Out of 31 tET Meantone Eb G note 0 0 note 1 77 note 2 194 note 3 310 note 4 387 note 5 503 note 6 581 note 7 697 note 8 774 note 9 890 note 10 1006 note 11 1084 note 12 1200 ...

Page 92: ...286 Ratio 8 5 JUST 69 Cents 884 358713 Ratio 5 3 JUST 70 Cents 996 089998 Ratio 16 9 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 21 Lute tuning of Giovanni Maria Artusi 1603 1 4 comma w Acc 1 2 way Naturals 60 Cents 0 Ratio 1 1 JUST 61 Cents 96 578 Ratio 8607 8140 62 Cents 193 157 Ratio 2889 2584 63 Cents 289 735 Ratio 11687 9886 64 Cents 386 313714 Ratio 5 4 JUST 65 Cen...

Page 93: ...35 Ratio 15708 9929 69 Cents 895 1125 Ratio 14857 8859 70 Cents 998 045 Ratio 12503 7025 71 Cents 1090 225 Ratio 18484 9847 72 Cents 1200 Ratio 2 1 JUST 23 Bulgarian Bagpipe tuning Empirically Measured 0 Cents 0 Ratio 1 1 JUST 1 Cents 66 Ratio 5427 5224 2 Cents 202 Ratio 1925 1713 3 Cents 316 Ratio 11586 9653 4 Cents 399 Ratio 4965 3943 5 Cents 509 Ratio 7451 5553 6 Cents 640 Ratio 13435 9283 7 Ce...

Page 94: ... 10686 9335 4 Cents 312 Ratio 11873 9915 5 Cents 390 Ratio 11636 9289 6 Cents 468 Ratio 13024 9939 7 Cents 546 Ratio 12433 9070 8 Cents 624 Ratio 11605 8093 9 Cents 702 Ratio 14999 9999 10 Cents 780 Ratio 3471 2212 11 Cents 858 Ratio 15361 9358 12 Cents 936 Ratio 11467 6678 13 Cents 1014 Ratio 17889 9959 14 Cents 1092 Ratio 12599 6705 15 Cents 1170 Ratio 18593 9459 16 Cents 1248 Ratio 14957 7274 1...

Page 95: ...351 6 Cents 382 8 Ratio 11690 9371 7 Cents 446 6 Ratio 9007 6959 8 Cents 510 4 Ratio 1500 1117 9 Cents 574 2 Ratio 13547 9723 10 Cents 638 Ratio 12529 8667 11 Cents 701 8 Ratio 5584 3723 12 Cents 765 6 Ratio 9281 5964 13 Cents 829 4 Ratio 15760 9761 14 Cents 893 2 Ratio 1047 625 15 Cents 957 Ratio 9629 5540 16 Cents 1020 8 Ratio 16551 9178 17 Cents 1084 6 Ratio 16263 8692 18 Cents 1148 4 Ratio 135...

Page 96: ... 13 Cents 456 287 Ratio 2089 1605 14 Cents 491 386 Ratio 8563 6447 15 Cents 526 485 Ratio 6117 4513 16 Cents 561 584 Ratio 148 107 17 Cents 596 683 Ratio 2895 2051 18 Cents 631 782 Ratio 7627 5295 19 Cents 666 881 Ratio 13901 9457 20 Cents 701 98 Ratio 3 2 just 21 Cents 737 079 Ratio 5477 3578 22 Cents 772 178 Ratio 6981 4469 23 Cents 807 277 Ratio 14613 9167 24 Cents 842 376 Ratio 10660 6553 25 C...

Page 97: ...32 JUST 62 Cents 111 731285 Ratio 16 15 JUST 63 Cents 203 910002 Ratio 9 8 JUST 64 Cents 231 174094 Ratio 8 7 JUST 65 Cents 266 870906 Ratio 7 6 JUST 66 Cents 315 641287 Ratio 6 5 JUST 67 Cents 342 905379 Ratio 128 105 68 Cents 359 472338 Ratio 16 13 JUST 69 Cents 386 313714 Ratio 5 4 JUST 70 Cents 470 780907 Ratio 21 16 JUST 71 Cents 498 044999 Ratio 4 3 JUST 72 Cents 551 317942 Ratio 11 8 JUST 7...

Page 98: ...01 955001 Ratio 3 2 JUST 68 Cents 795 558015 Ratio 19 12 JUST 69 Cents 884 358713 Ratio 5 3 JUST 70 Cents 999 468017 Ratio 57 32 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 30 John Chalmers JI 3 15 16 17 18 19 20 21 on 1 1 15 20 on 3 2 May 2 1997 60 Cents 0 Ratio 1 1 JUST 61 Cents 111 731285 Ratio 16 15 JUST 62 Cents 216 686695 Ratio 17 15 JUST 63 Cents 315 641287 Ratio ...

Page 99: ... 45 JUST 68 Cents 813 686286 Ratio 8 5 JUST 69 Cents 907 289301 Ratio 76 45 JUST 70 Cents 996 089998 Ratio 16 9 JUST 71 Cents 1107 821284 Ratio 256 135 72 Cents 1200 Ratio 2 1 JUST 32 Chinese scale 4th century 0 Cents 0 Ratio 1 1 JUST 1 Cents 99 2 Ratio 3735 3527 2 Cents 199 5 Ratio 11126 9915 3 Cents 296 7 Ratio 9181 7735 4 Cents 398 Ratio 10405 8268 5 Cents 492 9 Ratio 448 337 6 Cents 595 2 Rati...

Page 100: ...na 1 Fabio Colonna lived in Naples and published a treatise in 1618 called La Sambuca Lincea which included a description of the instrument by that name which he built on commission from Scipione Stella who had had the opportunity in 1594 to examine Vincentino s Archicembalo a 31 tone per octave not equal tempered keyboard instrument 60 Cents 0 Ratio 1 1 JUST 61 Cents 70 672427 Ratio 25 24 JUST 62...

Page 101: ...for his Megalyra Family Darreg was one of the great modern theorists of just intonation 60 Cents 0 Ratio 1 1 JUST 61 Cents 70 672427 Ratio 25 24 JUST 62 Cents 111 731285 Ratio 16 15 JUST 63 Cents 182 403712 Ratio 10 9 JUST 64 Cents 203 910002 Ratio 9 8 JUST 65 Cents 274 582429 Ratio 75 64 JUST 66 Cents 315 641287 Ratio 6 5 JUST 67 Cents 386 313714 Ratio 5 4 JUST 68 Cents 498 044999 Ratio 4 3 JUST ...

Page 102: ...86984 Ratio 32 19 JUST 70 Cents 996 089998 Ratio 16 9 JUST 71 Cents 1095 04459 Ratio 32 17 JUST 72 Cents 1200 Ratio 2 1 JUST 38 Almost Equal 12 tone Subset of Duodenarium 60 Cents 0 Ratio 1 1 JUST 61 Cents 92 178716 Ratio 135 128 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 296 088718 Ratio 1215 1024 64 Cents 405 866283 Ratio 512 405 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 609 776284 Ratio 64 4...

Page 103: ... Ratio 5 3 JUST 70 Cents 1017 596288 Ratio 9 5 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 40 Bali Java Slendro Siam 7 empirical 0 Cents 0 Ratio 1 1 JUST 61 Cents 111 731285 Ratio 16 15 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 315 641287 Ratio 6 5 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 519 551289 Ratio 27 20 JUST 67 Ce...

Page 104: ... Ratio 14076 8389 10 Cents 1019 Ratio 12585 6986 11 Cents 1086 Ratio 16205 8654 42 Erlangen revised 60 Cents 0 Ratio 1 1 JUST 61 Cents 92 178716 Ratio 135 128 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 294 134997 Ratio 32 27 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 590 223716 Ratio 45 32 JUST 67 Cents 701 955001 Ratio 3 2 JUST 68 Cents 794 133717 Ratio 4...

Page 105: ... Ratio 5 3 JUST 70 Cents 976 537429 Ratio 225 128 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 44 Fokker s 7 limit 12 tone Just Scale 60 Cents 0 Ratio 1 1 JUST 61 Cents 119 442808 Ratio 15 14 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 266 870906 Ratio 7 6 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 590 223716 Ratio 45 32 JUST 67 Ce...

Page 106: ...39 84 JUST 70 Cents 985 798925 Ratio 205 116 71 Cents 1049 362941 Ratio 11 6 JUST 72 Cents 1200 Ratio 2 1 JUST 46 Gamelan Udan Mas approx s6 p6 p7 s1 p1 s2 p2 p3 s3 p 4 s5 p5 60 Cents 0 Ratio 1 1 JUST 61 Cents 0 Ratio 1 1 JUST 62 Cents 182 403712 Ratio 10 9 JUST 63 Cents 266 870906 Ratio 7 6 JUST 64 Cents 427 372572 Ratio 32 25 JUST 65 Cents 510 367002 Ratio 47 35 JUST 66 Cents 571 725653 Ratio 32...

Page 107: ...Ratio 14 9 JUST 69 Cents 884 358713 Ratio 5 3 JUST 70 Cents 968 825906 Ratio 7 4 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 48 Harmonics 1 to 12 and Subharmonics Mixed 60 Cents 0 Ratio 1 1 JUST 61 Cents 203 910002 Ratio 9 8 JUST 62 Cents 231 174094 Ratio 8 7 JUST 63 Cents 386 313714 Ratio 5 4 JUST 64 Cents 498 044999 Ratio 4 3 JUST 65 Cents 551 317942 Ratio 11 8 JUST 66...

Page 108: ...o 63 64 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 176 64591 Ratio 567 512 64 Cents 407 820003 Ratio 81 64 JUST 65 Cents 470 780907 Ratio 21 16 JUST 66 Cents 611 730005 Ratio 729 512 67 Cents 701 955001 Ratio 3 2 JUST 68 Cents 674 690909 Ratio 189 128 69 Cents 905 865003 Ratio 27 16 JUST 70 Cents 968 825906 Ratio 7 4 JUST 71 Cents 1109 775004 Ratio 243 128 72 Cents 1200 Ratio 2 1 JUST ...

Page 109: ... Cents 405 866283 Ratio 512 405 69 Cents 478 49243 Ratio 675 512 70 Cents 498 044999 Ratio 4 3 JUST 71 Cents 590 223716 Ratio 45 32 JUST 72 Cents 609 776284 Ratio 64 45 JUST 73 Cents 680 448711 Ratio 40 27 JUST 74 Cents 701 955001 Ratio 3 2 JUST 75 Cents 772 627428 Ratio 25 16 JUST 76 Cents 792 179997 Ratio 128 81 JUST 77 Cents 884 358713 Ratio 5 3 JUST 78 Cents 905 865003 Ratio 27 16 JUST 79 Cent...

Page 110: ...ts 905 865003 Ratio 27 16 JUST 70 Cents 1017 596288 Ratio 9 5 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 52 Carnatic Gamut Kuppuswami Carnatic Music and the Tamils p v 60 Cents 0 Ratio 1 1 JUST 61 Cents 98 954592 Ratio 18 17 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 315 641287 Ratio 6 5 JUST 64 Cents 394 347297 Ratio 54 43 JUST 65 Cents 498 044999 Ratio 4 3 JUST ...

Page 111: ...nts 883 Ratio 6793 4079 70 Cents 997 Ratio 4863 2734 71 Cents 1092 Ratio 12599 6705 72 Cents 1207 Ratio 15117 7528 54 7 limit 12 tone Scale 60 Cents 0 Ratio 1 1 JUST 61 Cents 111 731285 Ratio 16 15 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 266 870906 Ratio 7 6 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 582 512193 Ratio 7 5 JUST 67 Cents 701 955001 Ra...

Page 112: ...Ratio 12 7 JUST 70 Cents 968 825906 Ratio 7 4 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 56 Kurzweil Just with Natural b7th is Sauveur Just with 7 4 60 Cents 0 Ratio 1 1 JUST 61 Cents 70 672427 Ratio 25 24 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 315 641287 Ratio 6 5 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 590 223716 R...

Page 113: ...UST 65 Cents 357 095901 Ratio 896 729 66 Cents 435 084095 Ratio 9 7 JUST 67 Cents 498 044999 Ratio 4 3 JUST 68 Cents 561 005903 Ratio 112 81 JUST 69 Cents 638 994097 Ratio 81 56 JUST 70 Cents 701 955001 Ratio 3 2 JUST 71 Cents 764 915905 Ratio 14 9 JUST 72 Cents 842 904099 Ratio 729 448 73 Cents 905 865003 Ratio 27 16 JUST 74 Cents 996 089998 Ratio 16 9 JUST 75 Cents 1059 050902 Ratio 448 243 76 C...

Page 114: ...Ratio 75 44 JUST 11 Cents 1088 268715 Ratio 15 8 JUST 12 Cents 1151 229619 Ratio 35 18 JUST 13 Cents 1221 902045 Ratio 875 432 14 Cents 1333 633331 Ratio 175 81 JUST 15 Cents 1425 812047 Ratio 875 384 16 Cents 1537 543332 Ratio 175 72 JUST 17 Cents 1656 986141 Ratio 125 48 JUST 18 Cents 1719 947045 Ratio 875 324 19 Cents 1884 951273 Ratio 1925 648 20 Cents 1923 857046 Ratio 875 288 21 Cents 2035 5...

Page 115: ...Ratio 1885 1128 70 Cents 963 1899 Ratio 13187 7560 71 Cents 1081 59495 Ratio 1780 953 72 Cents 1200 Ratio 2 1 JUST 60 Rousseau s Monochord Dictionnaire de musique 1768 60 Cents 0 Ratio 1 1 JUST 61 Cents 70 672427 Ratio 25 24 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 315 641287 Ratio 6 5 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 568 717426 Ratio 25 1...

Page 116: ...9 99971 Ratio 21454 9951 70 Cents 1545 Ratio 18281 7489 71 Cents 1690 00034 Ratio 5797 2184 72 Cents 1830 00051 Ratio 28347 9850 73 Cents 2049 99952 Ratio 32211 9857 74 Cents 2234 99975 Ratio 36331 9991 75 Cents 2337 00011 Ratio 38073 9871 76 Cents 2400 Ratio 4 1 JUST 62 Vallotti Young Vallotti Version 60 Cents 0 Ratio 1 1 JUST 61 Cents 94 135 Ratio 10487 9932 62 Cents 196 09 Ratio 10851 9689 63 C...

Page 117: ... 8 5 JUST 69 Cents 884 358713 Ratio 5 3 JUST 70 Cents 1017 596288 Ratio 9 5 JUST 71 Cents 1088 268715 Ratio 15 8 JUST 72 Cents 1200 Ratio 2 1 JUST 64 LaMonte Young s Well Tuned Piano 60 Cents 0 Ratio 1 1 JUST 61 Cents 176 64591 Ratio 567 512 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 239 606814 Ratio 147 128 64 Cents 470 780907 Ratio 21 16 JUST 65 Cents 443 516816 Ratio 1323 1024 66 Cents 674 690...

Page 118: ...UST 69 Cents 894 135 Ratio 2427 1448 70 Cents 996 089998 Ratio 16 9 JUST 71 Cents 1090 225 Ratio 18484 9847 72 Cents 1200 Ratio 2 1 JUST Original 1 1 on C here it is set to C 60 Cents 0 Ratio 1 1 JUST 61 Cents 111 731285 Ratio 16 15 JUST 62 Cents 203 910002 Ratio 9 8 JUST 63 Cents 315 641287 Ratio 6 5 JUST 64 Cents 386 313714 Ratio 5 4 JUST 65 Cents 498 044999 Ratio 4 3 JUST 66 Cents 609 776284 Ra...

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