Dave Smith Instruments Prophet 12 System information

Operation Manual
w i th
Operation Manual
by
Roger Linn, Andrew McGowan & Riley Smith
Version 1.3
March 2013
Dave Smith Instruments
1527 Stockton Street, 2nd Floor
San Francisco, CA 94133
USA
©2013 Dave Smith Instruments
www.davesmithinstruments.com
Tempest Operation Manual

i
This device complies with Part 15 of the FCC Rules. Operation is subject to
the following two conditions: (1) This device may not cause harmful interference and (2) this device must accept any interference received, including
interference that may cause undesired operation.
This Class B digital apparatus meets all requirements of the Canadian
Interference-Causing Equipment Regulations.
Cet appareil numerique de la classe B respecte toutes les exigences du
Reglement sur le materiel brouilleur du Canada.
For Technical Support, email: support@davesmithinstruments.com
ii

Dave Smith Instruments
Table of Contents
What’s a Tempest? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Quick Start. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Overview of Panel Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Sounds, Beats, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Going Deeper. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The Pad Function Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
16 Beats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Sounds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Mutes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Time Steps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Tunings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16 Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4
5
6
7
8
9
Pad Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Sound Bank B. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Reverse Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
The Screens Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Events Key: The Beat Events screen. . . . . . . . . . . . . . . . . . . . . . . . . 13
Note Event Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Play List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
The Sound Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Undo Sound / Revert Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Oscillators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Analog Oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
The Digital Oscillators. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Lowpass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Highpass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Tempest Operation Manual

iii
Amp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Envelopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33
A Note About Envelope Shape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
LFO 1 & 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Modulation Paths. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Choke and Voice Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Beat-wide Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Mixer and Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Real Time FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Beat FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Note FX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Rec/Edit Keys. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
The Click key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Undo Rec key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Erase key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
The Copy key. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
45
45
46
The Edit Function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
1. Copy Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2. Initialize Sound. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
3. Rename Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
4. Copy Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
5. Initialize Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
6. Rename Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
7. Copy Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
8. Insert Bars Into Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
9. Delete Bars from Beat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10. Change Time Signature of Beat. . . . . . . . . . . . . . . . . . . . . . . . . .
11. Rename Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12. Initialize Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13. Rename Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14. Copy Playlist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15. Initialize Playlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Turn All Notes Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv

47
47
47
48
48
48
48
48
49
49
49
49
49
49
50
50
Dave Smith Instruments
Save/Load. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51
Saving Sounds, Beats, and Projects . . . . . . . . . . . . . . . . . . . . . . . . .
Loading Sounds, Beats, and Projects. . . . . . . . . . . . . . . . . . . . . . . . .
Load Beat Options (including Loading Sound Kits) . . . . . . . . . . . . . .
Loading sounds quickly from the Pads screen. . . . . . . . . . . . . . . . . .
Exporting Sounds, Beats, and Projects . . . . . . . . . . . . . . . . . . . . . . .
Importing Sounds, Beats, and Projects . . . . . . . . . . . . . . . . . . . . . . .
Important: Import Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Renaming Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51
53
53
55
56
59
59
60
60
System Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
System: General. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System: Foot Pedals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System: MIDI Remote Pad Play. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System: MIDI Polyphonic Keyboard Play. . . . . . . . . . . . . . . . . . . . . .
System: MIDI Clock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
System: MIDI System Exclusive. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61
62
63
65
66
66
System: BPM/Swing/Comp/Dist Sources. . . . . . . . . . . . . . . . . . . . . 67
System: UI Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Modulation Destinations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Samples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Contacting Technical Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Warranty Repair. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Tempest Operation Manual

v
Credits and Acknowledgement
For their samples, thanks to:
Angus Hewlett/FXpansion
Audio samples © 2007 FXpansion Audio UK Ltd. Used with permission.
www.fxpansion.com
Hugo Tichborne/Goldbaby
www.goldbaby.co.nz
Haptic Audio
www.hapticaudio.com
For Sound and Beat design:
Robert Baker
Mark Camp
Kosta Cross
Carson Day
Richard Devine
Michael Dietel
Peter Dyer
Shane Etter
Andrew Everding
Troels Folmann
Reek Havok
Jeremy Jacobs
jaswho?
Nathan Kampf
James Kojac
Kevin Lamb
Joe McGinty
Chris Randall
Robert Rich
Brian Tester
Jason Ware
Special thanks also to: Wade Dawson, Rory Dow, Peter Molettiere,
and Riley Smith
And to the DSI crew: Carson Day, Chris Hector, Tony Karavidas, Mark Kono,
Andrew McGowan, Joanne McGowan and Tracy Wadley.
vi

Dave Smith Instruments
Tempest Operation Manual

vii
viii

Dave Smith Instruments
What’s a Tempest?
Tempest is a professional drum machine that generates its sounds using six
powerful analog synthesis voices. It runs an innovative, performance-oriented
operating system that permits an extraordinary level of control to create, edit,
arrange, and manipulate beats and sounds in real time without ever stopping play.
We like to think of Tempest not just as a drum machine but rather as a new musical instrument for the real-time performance of beat-oriented music.
Here is a summary of some of Tempest’s innovative features:
• Complex and rich analog voice structure: two analog oscillators with
sub-oscillator, plus two digital oscillators (with a large bank of included
samples), lowpass filter with audio-rate modulation, highpass filter, VCA
with feedback, five envelopes, two LFOs, and eight flexible modulation
paths. Though optimized for drum sounds, it excels at tuned sounds as well,
and even doubles as a 6-voice analog keyboard synth. In addition to the six
direct voice outputs, there are stereo mix outputs and phones outputs, plus
two inputs for foot switches or expression pedals, MIDI in/out, and USB.
• The performance-oriented operating system, ninety panel controls, and
graphic OLED display work together to provide a tightly integrated, fast,
non-stop workflow in which nearly all creation, editing, arrangement, and
manipulation operations occur in real-time without stopping play. A high
priority was given to producing the highest quality human feel, including
the ability to adjust swing timing in real time on playback.
• Sixteen pressure- and velocity-sensitive lit pads are arranged in a 2x8
configuration, providing easy access to all fingers and providing the ideal
compromise between the popular 4x4 and 1x16 arrangements for both realtime and step programming. The pads can be used to play sixteen drumbeats, sixteen sounds (for each of two banks), sixteen sound mutes, sixteen
velocity levels, or sixteen time steps (for step programming). The Roll
button permits creating drum rolls or repeated groove patterns by varying
pad pressure during record, and doubles as a momentary “stutter” effect
when the pads are assigned to play beats.
• Two pressure- and position-sensitive Real Time FX slide controllers permit
real-time recording of note or beat-wide sound parameter changes into the
drumbeat as you play. Real-time effects include stereo analog distortion
and compression, plus audio delay and beat “stutter”, both produced in the
sequencer in order to maintain the pure analog signal path.
Tempest Operation Manual
What’s a Tempest?
1
Quick Start
The best way to get started is to watch our Tempest Quick Start video, presented
by Roger Linn. Visit www.davesmithinstruments.com/products/tempest/ to see
this and other helpful videos.
Overview of Panel Controls
Hold either
Shift key to
select the
alternate
function
printed below
some controls.
Connect
stereo
outputs or
6 direct
voice
outputs to
mixer.
Connect power supply.
Adjust
synthesis
settings of
last sound
pad hit.
Adjust mix
settings of
last played
sound
pad.
Graphic OLED screen,
4 Soft Knobs, 1 Soft Key,
screen navigation keys,
Shift and Transport keys.
Set Tempo, Distortion,
Compression,
and Main Volume.
Select
1. Click Level
2. One bar count in
3. Fixed Velocity level
4. Pedal 1 Mode
5. Pedal 1 Expr Pedal Asn
Value
120
Off
120
Expr Pdl
Mod Src Expr Pdl1
System
Use position
and
pressure
sensitive
touch strips
to alter
either
sounds or
entire beats
in real-time.
2
The 16 pads
can be used
to play
16 drumbeats,
16 sounds,
16 time steps
for step record,
16 tunings,
16 mutes, or
16 volume
levels.
Quick Start
Select Bank A
or B sounds,
Roll for
repeating notes
or beat stutter,
Fixed Level to
defeat touch
sensitivity, or
Reverse to play
backwards.
Select what’s on
the screen: the
functions of the
pads, a grid
showing drumbeat
or play list events,
Sound settings, or
Mixer settings.
Play List plays a
programmed list
of beats.
Quickly erase
or copy sounds
or beats, undo
last edit, turn
click on/off, a
menu of editing
functions,
save/load to
internal flash or
MIDI/USB, and
system settings.
Dave Smith Instruments
Sounds, Beats, and Projects
There are three terms that are important to know:
A Sound is a collection of all settings required to produce a drum or other type
of sound when you play a pad, including settings for samples, oscillators, filters,
VCA, envelopes, LFOs, and more. If the 16 Sounds key is pressed, you can use
the sixteen pads to play the Sound in the selected Beat. After you create a Sound,
you can save it as a Sound file for later reloading into another Beat.
A Beat is a collection of all settings needed to produce a drumbeat—a note
sequence up to four measures of 4/4 time, thirty-two Sounds (sixteen in pad bank
A and sixteen in pad bank B), mixer settings, effect settings, and more. Tempest
holds sixteen beats in memory at one time. If the 16 Beats key is pressed, you
can use the sixteen pads to play the sixteen Beats that are loaded in memory.
After you create a Beat, you can save it as a Beat file for later reloading into
another project.
A Project is a collection of nearly everything in memory: all sixteen Beats (each
containing its own thirty-two Sounds), four Play Lists, and various project-related
settings including the playing tempo.
Going Deeper
There is important information throughout the manual, but pay particular attention to “The Pad Function Keys” on page 4 to gain a greater understanding
of Tempest’s pad modes and how to use them, and “The Screens Keys” on page
12 to learn how to access and interact with the various types of data on the
graphic display. It is highly recommended to read “Save/Load” on page 51. It
is extremely important and could save you a lot of grief!
Tempest Operation Manual
Quick Start
3
The Pad Function Keys
16 Beats
If 16 Beats is pressed, the sixteen pads are
used to play the sixteen Beats in memory. This
is useful for live arrangement and manipulation of Beats during performance. One beat
pad is always selected, indicated by its pad
being dimly lit. To start playing a Beat, press
Play. While playing, select another beat pad to
switch to it. To stop playing, press Stop.
If the Pads key (in the Screens section) is lit, the following screen will be
displayed, showing the beat assigned to each pad, plus related information and
controls:
Soft Knob 1:
Beat Quantize
When switching
between beat pads
while playing, the
transition will be
delayed until the
next bar, ½ note,
etc., set here.
Soft Knob 2:
Swing
Varies the selected
Beat’s 1/16 note
Swing amount
from 50% (straight
1/16s) to 66%
(triplet swing) and
more.
BtQuant: End Swing: 50.0%
Proj: Saturday night gig
Soft Knob 4:
Beat Roll
Hold the Roll key for
a Beat Roll, a stutter
effect in which a small
portion of the beat
loops. This setting
controls the duration
of the beat roll.
BtRoll: 8th
Intro SwgBt SloFil 4Kicks FillBt 4hats HlfTm Brkbt
Busy
Break On2&4 BigBt
Quiet SwGrv PwrBt Endng
Pad Hold: Off
Project & Beat
Displays the current
Project name
(everything in
memory) and
selected Beat name.
4
Soft Key: Pad Hold
If on, beats play only
as long as you hold
down a beat pad.
The Play key is also
momentary.
The Pad Function Keys
Short Names
Short names for each of
the 16 pads are shown
here. You can edit these
short names by using
the Edit function.
Dave Smith Instruments
16 Sounds
If 16 Sounds is pressed, the sixteen pads are
used to play the sixteen Sounds (in either
Bank A or B) of the selected Beat. This is
useful for playing sounds, or for recording
sounds into beats in real time.
If the Pads key (in the Screens section) is
lit, the following screen will be displayed,
showing what’s in each pad and other useful
controls:
Soft Knob 1: Quantize
When recording Beats in
real time, notes are
moved to the nearest 1/8,
1/16 note, etc., set here.
This is also used for the
Note Roll rate, plus the
step size for the ‘Beat
Events’ screen and the
‘16 Time Steps’ pad
function.
Quant: 8th
Tamb
Claps
Soft Knob 2:
Swing
Varies the selected
Beat’s 1/16 note
Swing amount from
50% (straight 1/16s)
to 66% (triplet
swing) to 75%
(extreme swing).
54-58% gives a
relaxed 1/16 feel.
Swing: 50.0%
Rim
Shaker Block SftSnr
Soft Knob 3:
Sound Type
The center area
shows the
Sound Types
(Kick, Snare, etc.) for
the 16 Sounds in the
selected bank.
This knob permits
changing the
assigned sound type.
Sound Type
Load Sound
Snare HhOpn TomHi TomMid TomLo
Kick
HhTite
Ride
Crash Splash
Revert Snd
Selected Beat & Sound
Displays the pad number
and name of the currently
selected Beat and Sound.
One sound pad is always selected, indicated by being dimly lit. Press a pad to
select it, or Hold Shift+pad to select it without hearing its sound. The sound
controls in the upper half of the panel (oscillators, filters, mixer, etc.) always
apply to the selected sound.
Note the arrangement of sound types in the above screen, which is optimized for
playing the drum kit sounds with your hands placed in the center of the pads. We
suggest that you create your beats using this same arrangement.
Tempest Operation Manual
The Pad Function Keys
5
16 Mutes
If 16 Mutes is pressed, the sixteen pads act
as sixteen mute switches for playback of the
sixteen Sounds in the selected Sound bank (A
or B). This is useful for arranging the Beat’s
parts in real time while playing. A lit pad
indicates the Sound’s playback is on; an unlit
pad indicates it is off. Pressing a pad toggles
between on and off states.
If the Pads key (in the Screens section) is lit, the following screen will be
displayed, showing the assignment of each pad and related controls:
Beat & Sound
Displays the selected
Beat and Sound. To
change the selected
sound, hold Shift while
pressing the pad that
holds the desired sound
in the 16 Sounds screen.
Soft Knob 2:
Swing
Varies the
selected Beat’s
1/16 note Swing
amount from
50-75%.
Swing: 54%
Tom1
Tom2
Splash Crash
Tom3
Ride
Soft Knob 4:
Beat Roll
Hold the Roll key for a
Beat Roll, a stutter effect
in which a small portion
of the beat loops. This
setting controls the
duration of the beat roll.
BtRoll: 8th
Snare HatOp Snar2 Shaker Tamb
Bass
HatCl Bass2 Claps Clave
All On
Soft Key: All On
Pressing this soft key
unmutes all 16 Sounds in
the active bank.
Sound Types
The center area shows the Sound Types
for the 16 loaded Sounds, which can be
changed in the 16 Sounds screen.
Note: When 16 Mutes is selected, the Real Time FX sliders and sound
controls affect beat-wide effects, just as they do when 16 Beats is selected.
6
The Pad Function Keys
Dave Smith Instruments
16 Time Steps
If 16 Time Steps is pressed, the sixteen
pads represent sixteen time steps within
the beat, useful for step programming. A lit
pad indicates the presence of a note of the
selected sound, and an unlit pad indicates
its absence. Pressing a lit pad toggles
between deleting and inserting a note (of
the selected sound) at the pad’s assigned
location in time and at the velocity level at
which the pad was struck.
If the Pads key (in the Screens section) is lit, the following screen will be
displayed, showing the assignment of each pad plus related controls:
Soft Knob 1:
Quantize
Same as the Quantize
setting in the 16 Sounds
screen, in this case it
sets the Time Step size
for the 16 pads to a value
between 8th notes
through 32nd triplets.
Soft Knob 2: See
The screen can show only a portion of the
entire beat. For example, if Quantize=16th, the
16 pads show 1 bar of 4/4. Turning this knob
moves between displaying (seeing) sequential
time blocks within the beat. The circular icon
at right appears if LoopScreen is on.
Shift + Soft Knob 2: Loop Screen
If on, the time steps shown in the screen
are played in a loop.
Quant: 16th See: 1.1.1
Bt: 14/Swing beat 100 bpm
Snd: A12/Boomy Kick
1.1.1
1.1.7 1.1.13 1.1.19 1.2.1
1.2.7 1.2.13 1.2.19
1.3.1
1.3.7 1.3.13 1.3.19 1.4.1
1.4.7 1.4.13 1.4.19
All Off
Selected Beat & Sound
Displays the pad number
and name of the currently
selected Beat and Sound.
120.0
1.1. 1
16 Steps
Time Locations
This area shows the Time Location
of each of the 16 pads in
Bar.Beat.Tick format.
Note that it is often more useful to view the Beat Events screen while step
programming your beats. See Beat Events on page 13.
Tempest Operation Manual
The Pad Function Keys
7
16 Tunings
If 16 Tunings is selected (by pressing the 16
Beats and 16 Time Steps keys together), the
sixteen pads play the selected sound at sixteen
different tunings. This is useful for playing
tuned parts like bass or melody lines.
If the Pads key (in the Screens section) is
selected, the following screen is displayed,
showing the unique tuning for each pad plus
related controls:
Soft Knob 1:
Scale
Offers a variety of
musical scales for the
16 pads (major, minor,
chromatic, etc.)
Major
Soft Knob 2:
Octave
Permits the pads’
tuning to be shifted
up or down in
octaves.
+/- Octave
Root: C2
C2
D2
E2
F2
G2
A2
B2
C3
D3
E3
F3
G3
A3
B3
C4
D4
Beat & Sound
Displays the selected Beat and
Sound. To change the selected
sound (the sound that plays at
the 16 tunings), hold Shift while
pressing the pad that holds the
desired sound in the
16 Sounds screen.
8
Soft Knob 3:
Transpose
Selects the root note
of the scale.
The Pad Function Keys
Pad Tunings
Shows the tuning for each of
the 16 pads in the selected
scale.
Note that these won’t be the
actual notes played but rather
serves to indicate the relative
tuning between scale notes.
Dave Smith Instruments
16 Levels
If 16 Levels is selected (by pressing 16
Sounds and 16 Mutes together), the sixteen
pads play a single Sound at sixteen evenly
spaced volume (velocity) levels. This is an
alternative to using the pads’ touch sensitivity
for playing and recording dynamics.
If the Pads key (in the Screens section) is lit,
the following screen will be displayed, showing the velocity level for each pad
plus related controls:
Soft Knob 1:
Quantize
When recording Beats in real time,
notes are moved to the nearest 1/8,
1/16 note, etc., set here. This is also
used for the Note Roll rate, plus the
step size for the ‘Beat Events’ screen
and the ‘16 Time Steps’ pad function.
Soft Knob 2:
Swing
Varies the selected Beat’s 1/16
note Swing amount from 50%
(straight 1/16s) to 66% (triplet
swing) and more. 54-58% gives
a relaxed 16th note feel.
Quant: 16
Swing: 50.0%
Bt: 14/Swing beat 100 bpm
Snd: A12/Boomy Kick
8
16
24
32
40
48
56
64
72
80
88
96
104
112
120
127
120.0
Beat & Sound
Displays the selected Beat and Sound.
To change the selected sound
(the sound that plays at the 16 volume
levels), hold Shift while pressing the
pad that holds the desired sound in the
16 Sounds screen.
Tempest Operation Manual
1.1.01
16 Levels
Velocity Levels
Shows the velocity level at
which each of the 16 pads will
play the selected sound.
The Pad Function Keys
9
Pad Options
The buttons in this section provide a variety of useful tricks to get the most out of
using the pads for playing both sounds and beats.
Sound Bank B
Press to select an
additional bank of
16 sounds.
Reverse
When on, sounds
will play and record
in reverse.
Fixed Level
If off, sound pads are touch-sensitive,
playing louder when hit harder. If on,
sounds always play at a fixed velocity
level, set in the System settings.
Roll
If Pad Function = 16 Sounds, 16 Tunings or 16 Volumes:
While playing, if Roll is on and a sound pad is held, repeated notes will be
created at the Quantize rate
(Set in the 16 Sounds screen). Varying pad pressure varies the velocity
level of the repeated notes. Use 1/32 or 1/32 Triplet quantize for rolls, or
1/16 note quantize for natural-sounding 1/16 note hihat parts.
If Pad Function = 16 Beats:
If Roll key is held, the beat stutters, looping a short portion until released.
The roll rate of repeat is set by the Beat Roll setting in the 16 Beats screen.
(Select 16 Beats and Pads.)
The Roll key is normally momentary (on while held). However, a quick
press will toggle between on and off states.
Sound Bank B
Sixteen additional Sounds can be stored and accessed per Beat for a total of 32.
Sounds in bank B are designated B1 through B16. Press Sound Bank B to toggle
between banks A and B.
• While holding Copy to copy a sound, use Sound Bank B to switch between
banks.
• To erase a Sound in Sound Bank B from a Beat, select Sound Bank B
before or after holding Erase, and then hit a pad to erase that sound.
10
Pad Options
Dave Smith Instruments
Reverse Playback
Reverse causes Sounds—even completely analog, non-sample-based Sounds—to
play in reverse by reversing the envelopes. (Sample-based Sounds also play the
sample in reverse.) Reverse is a real-time, performance control in 16 Sounds and
16 Beats modes and it can also be recorded into a Beat on a per note basis.
While playing a Beat in 16 Sounds mode, turning Reverse on and playing a pad
will cause the Sound to play in reverse. While recording a Beat in 16 Sounds
mode, notes recorded with Reverse on will record and play in reverse.
Note: Reverse can also be programmed as a Note Event in the Beat Events
screen and can be turned on or off for individual notes. For details about the
Beat Events screen, see “Events key: the Beat Events screen” on page 13.
While playing a Beat in 16 Beats mode, Reverse causes all of the Sounds in a
Beat—but not the Beat itself—to play in reverse.
Tempest Operation Manual
Pad Options
11
The Screens Keys
Tempest’s graphic OLED screen can display a variety of different types of
information. The keys in this section are used to determine which information it
displays.
The Events key
This displays the Beat Events screen, containing either a grid
view of the beat’s note events (if Play List is off) or a scrolling
list of Play List events (If Play List is on). This is described on
the following page.
The Play List key
This function allows
you to create 4 lists
of up to 99 Beats
each that play back
in sequence.
The Pads key
A 2 x 8 matrix is
displayed, showing the
function of each of the
16 pads.
Different information is
displayed depending
on which of the 6 Pad
Functions is selected.
See the description of
each Pad Function to
learn about each
screen.
12
The Screens Keys
Mixer and Effects
(press Pads and
Sounds together)
One of four screens is
displayed, showing the
various mix parameters. To see and learn
about these screens,
read the Mixer and
Effects section of the
manual.
The Sounds key
One of many screens
is displayed, showing
the various parameters
for oscillators, filters,
VCA, envelopes, LFO
and modulation paths.
To see and learn about
these screens, read
the Sound Controls
section of the manual.
Dave Smith Instruments
Events Key: The Beat Events screen
If the Events key is pressed, the Beat Events screen will be displayed. The Beat
Events screen is used for visual programming and editing of beats. This screen is
displayed on page 15.
The Beat Events screen contains a 4 x 16 grid with a row for each of four Sounds
in the Beat, and sixteen columns representing sixteen time locations within the
Beat. A rectangle in one of the cells indicates the presence of a note event of the
row’s Sound at the column’s time location. The height of this rectangle indicates
the velocity level of the note.
The grid acts as a window into the larger beat, showing four Sounds/rows out of
thirty-two, and sixteen time locations from the total Beat’s length. To view the
previous or next block of time, press the Page Up or Page Down keys. To view
higher or lower rows of Sounds, turn the Row soft knob.
To Edit a Note Event:
• Press Shift + turn Soft Knob 3 (Quantize) to adjust the size of each time
step (column) from 8th notes to 32nd triplets.
• Use the Row and Column soft knobs to select the note’s row and column.
• Use the Select Param Soft Knob to select which of the note parameters you
wish to view for editing: Velocity, Duration, Tuning, Note FX1, Note FX2,
Note FX3, Note FX4, Time Shift or Reverse).
• The selected parameter of the selected note will appear in the Soft Knob 4
rectangle. Edit the value with Soft Knob 4.
• To play only the displayed region in a loop, hold Shift and turn Soft Knob 2
to the right to turn on Loop Screen.
• The Soft Key is used either to insert a new note in an empty cell, or to
delete an existing note.
Note that the Beat Events screen can be displayed while any of the six Pad Functions is selected. It is especially useful for step programming when Pad Function
is set to 16 Time Steps.
Tempest Operation Manual
The Screens Keys
13
Note Event Parameters
The nine note event parameters are described below:
• Velocity - Note Velocity value to be used by various modulation
destinations in the synth engine (0-127).
• Duration - Note Duration in 24 PPQN increments (parts per quarter note),
used to gate the envelope generators (1-255). When ADSR envelopes are
used, the Duration determines the time period before the Release envelope
phase begins.
• Tuning - Changes the Pitch of the note in semitones (-60 to +60).
• FX1, FX2, FX3, FX4 - Note FX 1-4 directly control the Note FX
Destinations as assigned in the Note FX menu. (See “Note FX” on page
43 for additional details).
• Time Shift - Tempest’s sequencer resolution is 96 PPQN.
Time Shift allows a note to be shifted +/- 3 parts. At 120 BPM, 1 part equals
about 5.2 milliseconds.
• Reverse - Reverse allows you to reverse individual notes in a Beat.
Reverse causes Sounds—even completely analog, non-sample-based
Sounds—to play in reverse by reversing the envelopes.
14
The Screens Keys
Dave Smith Instruments
Soft Knob 1: Row
The 4 rows of the grid represent 4
of the beat’s sound pads. Turn this
knob (or press the Up/Down Arrow
keys) to select a different row. If
turned past the bottom or top of the
screen, the screen scrolls up or
down to reveal higher/lower sound
pads.
Shift + Soft Knob 1: Assign Row
Often the 4 sounds you wish to edit
aren’t contiguous and therefore
can’t all be edited in the same
screen. Turning this knob permits
the selected row to be reassigned
to any of the 32 sound pads.
Row: 2
A1/HatOpn
A2/HatCls
A3/Snare
A4/Bass
Soft Knob 2: Column
The columns represent time
locations. Turn this knob (or press
the left/right arrow keys) to select a
time location, shown as a
bar.beat.tick number in the Soft Knob
2 rectangle. To view the previous or
next block of time, press the Page
Up/Down keys. The circular icon
indicates the Loop Screen status.
Shift + Soft Knob 2: Loop Screen
If on, the contents of the screen plays
in a loop, useful for fast editing. If on,
the Loop Screen icon appears
whether Shift is on or off.
Col: 1.1.1
Select Param
Vel: 67
120.0
1.2.01
Beat Events
Insert
Soft Key:
Insert or Delete
If no note exists at the
selected grid cell,
this key inserts a new note.
If a note exists in the
selected cell, it deletes it.
The Play Cursor
This horizontal line moves
as the beat plays, indicating
the current playing location
(same as the Location
display) within the beat.
Soft Knobs 3 & 4: Select Param & Edit
Each note event contains 9 data: velocity,
tuning, duration, FX1, FX2, FX3, FX4, time
shift and reverse. To edit the note event at
the intersection of the selected row and
column, use soft knob 3 to select one of
these 9 parameters, then use soft knob 4 to
edit the current value of the selected
parameter.
Shift + Soft Knobs 3&4: Quantize & Swing
Quantize sets the time resolution of the grid,
from 8th notes to 32nd triplets. Triplet values
show 12 columns instead of 16. This also
sets the note value for real time quantize
recording, Note Roll and the 16 Time Step
pad function.
NOTE EVENT CALLOUTS
Tempest Operation Manual
The Screens Keys
15
Play List
The Play List function enables you to create lists
of beats that automatically play back in sequence.
Though this feature has existed in drum machines
for many years, Tempest takes it further: in addition to manually entering a list of beats, you can
also create play lists by recording your live beat
arrangements (switching between beat pads while
playing) in real time.
Each project in Tempest contains 4 play lists, each of which contains up to 99
steps. Each step contains a beat number (1-16) and the number of bars that beat
will play. Each play list can be set to either stop or loop back to an earlier step
when it plays past its last step. Play lists can not be saved as a separate file, but
rather are saved as part of the project when the project file is saved.
The Play List button toggles Play List mode on or off. If off, the selected beat
will play when Play is pressed. If on, the selected Play List will play when Play
is pressed.
The Play List screen
To view the Play List screen, press the Play List button, then press the Events
button. Note that if Play List is off, pressing the Events key displays the Beat
Events screen. If Play List is on, pressing the Events key displays the Play List
Events screen.
Soft Knob 1:
Select Step
Turning this knob changes which step is selected
for editing. The selected step is highlighted. Turning
the knob past the bottom or top of the screen
scrolls the screen contents to reveal higher or lower
numbered steps. You can also select a different
step by using the Up and Down Arrow keys.
Soft Knob 2:
Beat
Turning this knob
changes the beat number
for the selected step.
The pad associated with
the selected beat is
illuminated.
Soft Knob 3:
Bars
Turning this knob
changes the number
of bars that the
selected step’s beat
will play.
Step
Beat
Bars
End
Play List: 1/Favorite arrangement
End: Loop to Step 2
1
12/Four hihat ticks
1 bar (Bar 1)
2
5/Basic 4-count beat
7 bars (Bar 2)
3
3/Basic beat with fill
1 bar (Bar 9)
4
Insert Step
120.0
1. 1. 1
PlyList Evnts
Soft Key
Insert
Pressing this will insert a new step into
the play list before the selected step.
All subsequent steps will be moved up
(down on the screen) by one step to
make space for the new step.
16
The Screens Keys
Soft Knob 4:
End
Turning this knob selects what
will happen when the play list
plays to its end. The options
are Stop or Loop To Step x
(any step within the play list).
Dave Smith Instruments
If Shift is on, the soft key and soft knobs 3 and 4 change their function as shown
below.
Soft Knob 3:
Select List
Turning this knob allows
you to select one of the
four Play Lists.
SHIFT ON
Step
Beat
Select List
RT Rec: Off
Play List: 1/Favorite arrangement
End: Loop to Step 2
1
12/Four hihat ticks
1 bar (Bar 1)
2
5/Basic 4-count beat
7 bars (Bar 2)
3
3/Basic beat with fill
1 bar (Bar 9)
4
Delete Step
120.0
1. 1. 1
PlyList Evnts
Soft Key
Delete
Pressing this will delete
the selected step from
the play list.
All subsequent steps will
be moved up by one step
to fill the deleted step.
Soft Knob 4:
RT Record Off/On
When Real-time Record is Off, Play Lists can only be created
manually by entering data into the Play List screen.
When RT Rec is On, you may create a Play List by recording a
live beat arrangement, described on page 18.
This is a System parameter so it always remains as set even
after loading a new Project file.
Note: Keep this set to Off when not recording real time play lists,
in order to prevent accidentally overwriting your play list steps.
The center area of the screen displays a scrolling window of 4 steps within the
selected play list. Each step contains the beat number (1-16) and its name, the
number of bars it will play, and the calculated start bar for that step. A triangle on
the left edge of the screen indicates which step is currently playing. The highlighted step indicates that it is selected for editing. The Location field (bottom of
the screen) displays the bar.beat.tick location within the play list instead of within
the beat.
Tempest Operation Manual
The Screens Keys
17
Creating a Play List by Manually Entering Steps
To create a play list manually:
1. Press Play List to turn on Play List mode. Display the Play List screen by
pressing the Events key.
2. If the play list contains steps, either a) delete all steps one at a time [Shift +
soft key], or b) select a different, empty play list [Shift + soft knob 3] or c)
from the Edit menu, initialize the entire play list.
3. Using the Step soft knob, select step 1.
4. Using the Beat soft knob, select the beat you wish to play during this step.
5. Using the Bars soft knob, select the number of bars you want this step to
play within the play list.
6. Using the Step soft knob, select the next higher step.
7. Repeat steps 4 through 6 for each additional step you wish to add to the play
list.
8. Using the End soft knob, select either a) Stop or b) Loop to Step x [any
earlier step], depending on what you wish to happen when the play list plays
past the last step.
9. Press Play to play your new play list.
Creating a Play List by Recording a Live Beat Arrangement
One of Tempest’s performance features is the ability to switch between beats
during performance by simply pressing beat pads. As an alternative method of
creating a play list, Tempest can automatically record these live beat arrangements, recording each beat change and its duration into successive steps of the
play list. Here’s how to create a Play List in this way:
1. Press 16 Beats.
2. Press Play List to turn on Play List mode. Display the Play List screen by
pressing the Events key.
3. Set soft knob 4 (End) to Loop to Step 1 so that when the new play list plays
past its end, it will automatically loop back to step 1.
4. With Shift on, set soft knob 4 (RT Rec) to On, then turn Shift off.
18
The Screens Keys
Dave Smith Instruments
IMPORTANT: With RT Rec set to On, when you start recording your live
beat arrangement, any existing steps in the play list will be overwritten! If
you’re not creating a play list by recording your live beat arrangement, it’s
better to keep this set to Off in order to avoid accidentally erasing your play
list steps by unintentionally entering Record mode.
5. Press the beat pad that you want your play list to start with.
6. Press the Record button to turn Record mode on.
7. Press Play to start recording your live beat arrangement into the play list.
The selected beat will automatically be entered into step 1 of the play list.
8. When you want to hear a different beat, press a new beat pad. Notice that
the previous step’s Bars duration is now set to the number of bars that the
previous beat played, and the next step’s Beat field has been filled with the
new beat you just selected.
Note: The new beat will start playing at the next Beat Quantize boundary.
When recording live beat arrangements into play lists, if Beat Quantize is set
to anything shorter than Bar, it is internally forced to Bar. This is because
the play lists can change between beats only at bar boundaries.
Repeat step 8 for each additional beat change that you want your play list to
contain.
During the last bar of your beat arrangement, do one of the following:
• Press Stop, then press Record to turn Record mode off. Press Play and your
newly created play list will start playing from the beginning.
• Press Record to turn Record mode off. At the next Bar boundary, your
newly recorded play list will loop back to step 1.
Tempest Operation Manual
The Screens Keys
19
20
The Screens Keys
Dave Smith Instruments
The Sound Controls
A Sound is a collection of all settings required to produce a drum or other type
of sound when you play a pad, including samples, oscillators, filters, envelopes,
LFOs, and more. This section provides a detailed description of each of these
settings, and is divided into subsections for each of the principal synthesis blocks:
• Oscillators
• Lowpass Filter
• Highpass Filter
• VCA (voltage controlled amplifier)
• Envelope Generators
• LFOs (low frequency oscillators)
• Modulation paths
Many of these parameters have dedicated front
panel controls, but many others are accessed only
in special Sounds screens. All sound parameters
can be visually edited by pressing the Sounds
key (in the Screens section.)
There are a total of sixteen different sound
parameter screens. To move between them, press
the four arrow keys.
On the following two pages is a picture of all sixteen screens, with arrows showing which arrow keys to use to move between them. On subsequent pages is a
detailed description of each of the parameters shown in these screens.
Undo Sound / Revert Sound
If you press Shift + Undo Snd, the selected sound will be restored to its last
loaded or saved status, undoing any edits since then.
Also, if both 16 Sounds (in the Pad Function group) and Sounds (in the Screens
group) are selected, the soft key allows you to Revert Snd. Pressing it performs
the same function as Shift + Undo Snd.
Tempest Operation Manual
The Sound Controls
21
If the Sounds key is pressed, one of the following screens appears.
Use the four arrow keys to move between the screens.
22
The Sound Controls
Dave Smith Instruments
Use the four arrow keys to move between the screens.
Pre/Post Filter
Tempest Operation Manual
The Sound Controls
23
24
Oscillators
Dave Smith Instruments
OSC 4
OSC 3
OSC 2
OSC 1
SUB OSC
OSC 4 LEVEL
OSC 3 LEVEL
OSC
MIX
HPF
Modulation routing omitted for clarity
PRE-POST
FILTER
LPF
FEEDBACK LOOP
TEMPEST VOICE ARCHITECTURE
SUB OSC LEVEL
FEEDBACK LEVEL
VCA
AMP
VOLUME
PAN
R
L
Oscillators
Tempest has four oscillators
for each of its six voices.
Oscillators 1 and 2 are
digitally controlled analog
oscillators or DCOs.
“Digitally controlled” does not mean the audio is digitally generated, just that
the oscillators’ frequencies are under digital—rather than voltage—control. The
audio signal path is still completely analog. The advantage of digital control is
that the tuning is exceptionally stable over a ten-octave range without having to
compensate for variables like temperature.
Oscillators 3 and 4 are digital and generate various sample-based sounds, including different types of noise, samples of acoustic and electronic percussion, and
single-cycle waves from the Prophet VS. The digital oscillators are converted to
analog and pass through the same analog sound-shaping circuitry—filters, VCAs,
etc.—as the analog oscillators.
The Oscillators section contains the most commonly used controls for Tempest’s
oscillators. However, there are additional parameters accessed via the display
and its related controls. When the Oscillators screen is displayed, use the 3and
4 keys to view all the available parameters and the 5 and 6 keys to switch
between the different oscillators (and other edit screens).
The Analog Oscillators
Shape: Osc Off, Sawtooth, Triangle, Saw-Tri, Pulse 0% ... Pulse 99%
— Selects the oscillator waveshape.
Sawtooth
Triangle
Saw-Triangle
Pulse 50%
Tempest Operation Manual
Oscillators
25
The Pulse values ranges from 0 to 99 per cent and set the pulse width or duty
cycle of the Pulse wave. A value of 50 results in a true square wave with equal
alternating high and low levels, as in the preceding illustration.
Increasing or decreasing the value from 50 causes the waveshape to become
asymmetrical. Lower values narrow the positive-going portion of the wave,
higher values widen it. At the extreme values, the pulse goes completely flat,
which allows for some interesting possibilities with pulse width modulation.
0
50
99
Pulse Width
1/2 Mix: 100/0…0/100—Mixes the outputs of oscillators 1 and 2 in varying
amounts. A setting of 100/0 is 100% oscillator 1 and 0% oscillator 2. A setting of
0/100 is just the opposite. A setting of 50/50 is an equal mix of both.
Pitch: C0…C10—Sets the base oscillator frequency over a 10-octave range,
from 8 Hz to 8 kHz, in semitones. C3 is middle C, the first octave is 0 (C0, C#0,
etc.), the second octave is 1 (C1, C#1, etc.), and so on. Note that noise samples
cannot be tuned.
Fine: -50…+50—Fine tune control with a range of a quarter tone up or down.
Zero is centered. Steps are in cents (50 cents = ½ semitone).
Glide: 0...127—Sets the oscillator glide (portamento) rate. Glide is set independently for each oscillator. Low values are faster. See also Glide Mode.
Sync 2 >1: Off, On—Turns oscillator hard sync on. With sync on, whenever
oscillator 2 resets, oscillator 1 is forced to restart.
Oscillator 1
Oscillator 2
Oscillator 1
synced to
Oscillator 2
Sub Osc: 0...127—Controls the level of a square wave pitched one octave below
oscillator 1.
26
Oscillators
Dave Smith Instruments
Osc Slop: 0...5—The amount of random oscillator frequency tuning slop. The
analog oscillators in Tempest are very accurate, and will not drift. This works
great for accurate sounds, and allows precise de-tuning. Oscillator Slop allows
subtle amounts of frequency drift. For larger amounts, use a random LFO.
Glide Mode: FixRate, FixRate A, FixTime, FixTime A—Determines how the
oscillators respond when Glide is on.
• FixRate: 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.
• FixRate A: The same as FixRate, but glide is only applied when playing
legato. That is, glide only occurs when a note is held until the next note is
played. This effectively allows glide to be turned on and off just by playing
staccato or legato.
• FixTime: Glide is set to a fixed time, regardless of the interval between
notes.
• FixTime A: The same as FixTime, but glide only occurs when playing
legato.
Key Follow: Off, On—Turns keyboard tracking off or on for oscillator 1 or 2.
When off, the oscillator plays at its base pitch and will not transpose when played
from the pads or via MIDI.
Wave Reset: Off, On—When off, the oscillator is free-running and may be
at any point in its cycle when the voice is gated on. Most analog synthesizers
behave this way. The most noticeable effect is that the attack may vary slightly
at very fast settings, adding a slight, variable click that can be desirable for some
sounds. When Wave Reset is on, the oscillator is restarted—reset to the zero
crossing at the start of its cycle—every time a note is gated on.
Tempest Operation Manual
Oscillators
27
The Digital Oscillators
Sample: Off, sample name 1, sample name 2, …—Tempest contains
several hundred sampled sounds, including different types of noise, acoustic
drums and percussion, classic analog and digital drum machines, effects, and the
single-cycle waves from the Prophet VS. The sample format is 16-bit, 44.1kHz,
mono. For a complete list of samples, see “Samples” on page 72.
Level: 0…127—Sets the volume level of oscillator 3 or 4.
Note: Volume level can be set, or affected by modulation, at several points
in the signal path, so clipping distortion may occur if the levels and/or modulation amounts are set high. If clipping is undesirable, simply turn the level
and/or mod amount down until it stops clipping.
Also, if Level is set to 0, the oscillator is effectively off; modulation applied to
the oscillator level will have no effect.
Pitch: -24…+24—Offsets the base oscillator pitch as much as two octaves up
or down in semitone increments. A setting of 0 indicates there is no offset and the
oscillator plays at its base pitch.
Note: A few of the sounds—for example, some of the noise types—are of a
fixed pitch and do not transpose, either from the Pitch control, the pads, or
via MIDI.
Fine: -50…+50—Fine tune control with a range of a quarter tone up or down.
Zero is centered. Steps are in cents (50 cents = ½ semitone). Fine settings are also
reflected in the Pitch value. For example, if Pitch is set to 0, but Fine is set to
-50, the displayed Pitch value is -0.50 (-50 cents).
Glide: 0...127—Sets the oscillator glide (portamento) rate. Glide is set indepen-
dently for each oscillator. Low values are faster. See also “Glide Mode,” below.
Reverse: Reverses the playback of the sampled waveform.
Pre/Post Filter: 0...127—Oscillators 3 and 4 can be processed by Tempest’s
low- and high-pass filters, completely bypass the filters, or be set to a mix of the
two. A value of 0 means all of the output from oscillators 3 and 4 goes through
the filters, 64 is an equal mix of filtered and unfiltered signal, and 127 bypasses
the filters entirely.
Note: Pre/Post Filter affects both oscillators 3 and 4, not just the currently
selected oscillator.
28
Oscillators
Dave Smith Instruments
Glide Mode: FixRate, FixRate A, FixTime, FixTime A—Determines how the
oscillators respond when Glide is on.
• FixRate: 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.
• FixRate A: The same as FixRate, but glide is only applied when playing
legato. That is, glide only occurs when a note is held until the next note is
played. This effectively allows glide to be turned on and off just by playing
staccato or legato.
• FixTime: Glide is set to a fixed time, regardless of the interval between
notes.
• FixTime A: The same as FixTime, but glide only occurs when playing
legato.
Key Follow: Off, On—Turns keyboard tracking off or on for oscillator 3 or 4.
Tempest Operation Manual
Oscillators
29
Lowpass
Frequency: 0...164—Sets the filter
cutoff frequency over a range of
more than 13 octaves. This control
steps in semitones when turned
slowly, but smoothly controls the
filter without steps when turned at a
faster rate.
4 Pole: On, Off—Selects the filter configuration. When on, the filter is in 4-pole
mode. A 4-pole, low-pass filter rolls off frequencies above the cutoff frequency at
a slope of -24dB/octave. When off, the filter is in 2-pole mode and has a slope of
-12dB/octave and a more gradual roll-off of the higher frequencies.
Resonance: 0...127—Emphasizes a narrow band of frequencies around the
cutoff frequency. In 4-pole mode, high levels of resonance can cause the filter to
self oscillate. In 2-pole mode, resonance is much more subtle.
Audio Mod: 0...127—Controls the amount of audio from oscillator 1 used
to modulate the filter cutoff frequency. For filter-only audio, set 1/2 Mix in the
Oscillators section to 0/100, oscillator 2 Shape to Off, and oscillator 1 Shape to
the desired waveshape. This is useful for bell-like FM sounds. A wide range of
sounds can also be made using Audio Mod with the oscillators routed normally
through the filter.
Key > Freq: 0...127—Sets the amount of modulation from the note number—
from either the beat, the pads, or via MIDI—to the filter frequency. Sometimes
called key tracking in keyboard synths, because the cutoff frequency “tracks”
notes played on the keyboard. A setting of 64 will step the filter in semitone
increments for each successive note, 32 is quarter tones, and so on.
30
Lowpass
Dave Smith Instruments
Highpass
Frequency: 0...127—Sets the filter cutoff frequency for the
2-pole high-pass filter. A setting of 0 passes all frequencies.
Turning the control up attenuates frequencies below the cutoff
at a slope of -12dB/octave.
Key > Freq: 0...127—Sets the amount of modulation from the note number—
from either the beat, the pads, or via MIDI—to the filter cutoff frequency.
Sometimes called key tracking in keyboard synths, because the cutoff frequency
“tracks” notes played on the keyboard.
Tempest Operation Manual
Highpass
31
Amp
Feedback: 0…127—The left audio output of each voice
can feed back into the signal path pre-filter. Depending
upon the amount of feedback, this can result in anything
from a pleasing fuzzy distortion-like sound to unpredictable harmonic squealing and widespread pandemonium. A
setting of 0 prevents any of the signal from feeding back.
See “Tempest Voice Architecture” on page 24 for more
information.
Note: Because the feedback loop is taken from the left output, pan settings
and modulation will affect the behavior and level of feedback, so be careful
(and maybe turn down your monitors/headphones while tweaking?)!
Volume: 0…127—Sets the volume of the current sound before it is sent to the
mixer.
Note: Volume level can be set, or affected by modulation, at several points
in the signal path, so clipping distortion may occur if the levels and/or modulation amounts are set high. If clipping is undesirable, simply turn the level
and/or mod amount down until it stops clipping.
32
Amp
Dave Smith Instruments
Envelopes
Tempest has five sixstage DAPDSR (delay/
attack/peak hold/decay/
sustain/release) envelope
generators for each of its
six voices. Two of the
envelopes are “hard wired” to specific destinations: low-pass filter and amplifier
(VCA). The Pitch envelope uses All Oscillators as a default destination, but it
can be changed. The two auxiliary envelopes are assignable to any modulation
destination. (For a complete list, see “Modulation Destinations” on page 71.)
Additionally, any of the envelopes can modulate any destination using the modulation paths. (See “Modulation Paths” on page 37.)
The envelopes can also be switched to a two-stage APD (attack/peak hold/decay)
type suited to percussive sounds simply by turning AD Mode on.
Envelope Generators: Pitch, Lowpass, Amp, Aux1, Aux2—Choose one of
the five envelope generators to edit.
AD Mode: Off, On—Percussive sounds typically have a fast attack and then
decay to silence with no sustain. When AD Mode is on, only the attack and
decay portions of the envelopes are used, hence “AD.” AD Mode affects all five
envelopes.
AD Mode is effectively the same as setting Sustain to 0 and Release to the same
value as Decay, so the same effect can be achieved when AD Mode is off.
Delay: 0...127—Sets a delay between the time the envelope is gated on and
when the attack portion actually begins.
Attack: 0...127—Sets the attack time of the selected envelope.
Peak: 0…127—Peak is short for peak hold. Normally, the decay stage of the
envelope begins immediately after the attack stage reaches its ultimate value.
Peak briefly holds the envelope at its peak value, delaying the transition from
attack to decay. This can add extra punch to a Sound’s attack.
Decay: 0...127—Sets the decay time of the selected envelope.
Tempest Operation Manual
Envelopes
33
Sustain: 0...127—Sets the sustain time of the selected envelope. In AD Mode,
Sustain has no effect.
Release: 0...127—Sets the release time of the selected envelope. In AD Mode,
Release has no effect.
Amount: -127...127—Sets the amount of modulation from the selected envelope to its destination. Use Amount (and not Velocity Amount) if you don’t want
the Sound to use the velocity sensitivity of Tempest’s drum pads. The modulation
amount can be positive or negative, allowing for inverted envelope control. The
Amp envelope is an exception, with a range of only positive values (0-127), since
VCA gain can’t be negative!
Velocity Amount: 0...127—For most Sounds, the velocity with which the
pads (or an external MIDI controller) are struck should be used to modulate the
envelope amount. For example, Velocity Amount (and not Amount) routed to the
Amp envelope will use the drum pads’ velocity sensitivity to control the volume
of the Sound.
Amount and Velocity Amount work in combination. If Amount is set to 127,
Velocity Amount will not have any effect regardless of the setting or the velocity
with which the pad is struck because the modulation amount is already maxed
out.
When using Velocity Amount to control the envelope amount of velocitysensitive sounds, Amount can be used to set the minimum peak level of the
envelope when note velocity is 1 or close to it. For example, let’s say you wish to
create a drum sound in which the softest-played notes produce a volume ¼ that
of the loudest notes, but when using Velocity Amount alone, the softly-played
notes are nearly silent. In this case, you would set the Amp envelope’s Velocity Amount to 127 and its Amount to around 32. For this reason, when creating
touch-sensitive sounds, you might think of the Amount parameter as “Minimum
Envelope Amount.”
Note: Velocity is ignored when 16 Levels in Pad Function or Fixed Level in
Pad Options is on. See “16 Levels” on page 9 and “Pad Options” on page
10 for more information.
Destination: Off, mod destination 1, mod destination 2, …—Envelopes
Pitch, Aux1, and Aux2 are assignable to any of Tempest’s modulation destinations. For a complete list, see “Modulation Destinations” on page 71.
34
Envelopes
Dave Smith Instruments
A Note About Envelope Shape
Like most synthesizers, Tempest’s envelopes are not linear, but curved. Without
going into too much detail (or math), the curve is based on a logarithmic function. But that curve—and, therefore, the envelope’s shape—can be altered with
modulation.
For example, figure A below shows the “normal” decay of a simple AD envelope
where attack is set to 0.
Using one of Tempest’s Mod Paths (see page 37), an envelope can be used to
modulate itself. Figure B shows what happens when the envelope in figure A is
used as the modulation source and the mod destination is that same envelope’s
decay, with a mod amount of -60; figure C is with a mod amount of 60.
Note: Modulating an envelope segment also changes its length (time). In
the previous examples, figure B’s decay time was decreased and figure C’s
decay time was increased.
LFO 1 & 2
Tempest has two low frequency oscillators (LFOs). The LFOs can be freerunning or synced to the beat.
LFO2: Off, On—Chooses the LFO to edit. When off, the panel controls affect
LFO 1; when on, LFO 2.
Rate: 0...162—Sets the LFO frequency. Speed ranges from slow (30 seconds)
to very fast—at 90 (8 Hz, C-2) and above the speed steps in semitones, up to 162
(523 Hz, C4 or an octave above middle C).
Note: Some of the analog functions may not respond as expected to the
fastest LFO speeds, due to speed limitations of the control voltages, but they
will certainly generate some interesting sounds.
Tempest Operation Manual
Envelopes
35
Amount: 0...127—Sets the amount of LFO routed to the destination.
Shape: Triangle, Reverse Sawtooth, Sawtooth, Square, Random—The
waveshape of the LFO. Random (or “sample and hold”) generates a random
value that changes once per cycle.
Destination: Off, mod destination 1, mod destination 2, …—Sets the
modulation destination to which the LFO is routed. See “Modulation Destinations” on page 71 for a list of possible destinations.
Sync: Off, On—When on, the LFO syncs to the beat based on multiples of
quarter notes, regardless of the time signature. Rate displays the values in the
following table.
Display
Cycles per Quarter Note(s)
32 Qrtr
One LFO cycle lasts 32 quarter notes
16 Qrtr
One LFO cycle lasts 16 quarter notes
8 Qrtr
One LFO cycle lasts 8 quarter notes
6 Qrtr
One LFO cycle lasts 6 quarter notes
4 Qrtr
One LFO cycle lasts 4 quarter notes
3 Qrtr
One LFO cycle lasts 3 quarter notes
1/2 Note
One LFO cycle lasts 2 quarter notes
Qrtr Dot
One LFO cycle lasts 1.5 quarter notes
1 Qrtr
One LFO cycle lasts 1 quarter note
Qrtr Trip
Two LFO cycles every three quarter notes
8th
Two LFO cycles per quarter note
8th Trip
Three LFO cycles per quarter note
1/16
Four LFO cycles per quarter note
16th Trip
Six LFO cycles per quarter note
32nd
Eight LFO cycles per quarter note
64th
Sixteen LFO cycles per quarter note
Tip: Use Sync to modulate a parameter in time with a beat. For example,
for a beat in 4/4, an LFO set to a triangle wave and a rate of 16 Qrtr can
modulate the filter frequency for a sweep that repeats every 4 bars, precisely.
36
Envelopes
Dave Smith Instruments
Modulation Paths
Tempest has eight general-purpose modulation paths with a great variety of mod
sources and destinations available. Press MOD PATH to display the settings for
the current sound.
Source: Off, mod source 1, mod source 2, …—Sets the modulation
source for the selected mod path. See “Modulation Sources” on page 70 for a
complete list.
Tip: Use Source to route external MIDI controllers to Tempest’s mod
destinations.
Amount: -127…127—Sets the amount of the source used to modulate the
destination. The modulation amount can be positive or negative, allowing for
inverted control.
Destination: Off, mod destination 1, mod destination+ 2, …—Sets the
modulation destination for the selected mod path. See “Modulation Destinations”
on page 71 for a complete list.
Tempest Operation Manual
Modulation Paths
37
Choke and Voice Assign
Each of a Beat’s thirty-two Sounds can be choked by one of two other Sounds in
the Beat. The most obvious use is to enable a pedaled or closed high-hat to choke
off an open high-hat.
To Set Choke for a Sound:
1. In 16 Sounds pad mode and Sounds edit mode, press Shift then Mod Paths,
or repeatedly press the Page Down or 6 key, to navigate to the Misc screen.
2. Tap any pad to select a Sound.
3. Use the Choke 1 Soft Knob to choose the Sound/pad that will be choked
whenever this sound plays. If desired, use Choke 2 to specify a second
choke Sound/pad.
Voice Assign restricts a Sound to playing on only one of Tempest’s six voices.
By default, Tempest uses dynamic voice allocation. That is, if a voice is already
occupied with playing a Sound, new notes will play on the next available voice.
When all six voices are in use, new notes will steal a voice from one of the
Sounds already playing, causing that Sound to be cut off. Assigning a Sound to a
specific voice guarantees that voice won’t be stolen, at least not by the remaining
dynamically allocated voices. Multiple Sounds can be assigned to a single voice
and will still steal the voice when two or more notes play simultaneously.
Again, using a high-hat as an example, assigning the different high-hat articulations to a single voice will guarantee that the high-hat will always sound and its
voice will not be stolen. If a Beat has a steady 8th- or 16th-note pattern, it will be
pretty obvious if the high-hat’s voice is stolen, even for one note.
Be aware, though, that some Sounds—particularly Sounds with longer decays
like crash or ride cymbals—can benefit from the voices being dynamically
allocated. These Sounds tend to sound better or, at least, more realistic, if they’re
allowed to overlap and not be cut off by voice stealing, so it may take some
planning and tweaking to achieve a good balance between Sounds assigned to
specific voices and Sounds that use the remaining pool of dynamically allocated
voices.
Voice Assign also assigns a Sound to a specific voice output. For example, if the
kick drum is assigned to voice 1, the kick drum will be available for separate
processing via the Voice 1 jack on the rear panel. Inserting a plug in one of the
individual voice output jacks removes that voice from the main outputs. The
voice output jacks are stereo, and so retain any pan settings.
38
Choke and Voice Assign
Dave Smith Instruments
To Assign a Sound to a Specific Voice:
1. In 16 Sounds pad mode and Sounds edit mode, press Shift then Mod Paths,
or repeatedly press the Page Down or 6 key, to navigate to the Misc screen.
2. Tap any pad to select a Sound.
3. Use the Voice Assign Soft Knob to choose one of the six voices.
Tempest Operation Manual
Choke and Voice Assign
39
Beat-wide Parameters
Normally the panel sound controls operate on a single sound. However, if Pad
Function is set to 16 Beats, only eight of these controls are enabled and they
affect the playback of all sounds playing in the beat. These eight parameters are
called Beat-wide parameters:
The eight parameters are Oscillator Pitch, Lowpass Frequency, Lowpass Resonance, Audio Mod, Highpass Frequency, VCA Feedback, Envelope Attack and
Envelope Decay. For each of these eight parameters, moving the knob causes the
playback of all sounds to be altered simultaneously. Because the parameter values
can be very different for different sounds, the individual parameters are moved
proportionally in a way that results in the overall change sounding very natural.
If the Sounds key (in the Screens section) is pressed, one of the following two
screens is displayed:
OSC Pitch
LP Freq
Proj: Saturday night gig
+0
OSC PITCH
50
LP FREQ
Revert
120.0
HP Freq
Feedback
Proj: Saturday night gig
+0
50
HP FREQ
FEEDBACK
Revert
120.0
LP Reson
Audio Mod
Beat: 14/Uptempo beat
50
LP RESON
1.1.1
50
AUDIO MOD
Beat FX1
Env Attack
Env Decay
Beat: 14/Uptempo beat
+0
ENV ATTACK
1.1.1
50
ENV DECAY
Beat FX 2
Notice the Revert Soft Key. After any of the Beat-wide parameters is changed,
this soft key appears. Pressing it reverts the beat playback to its original state
before any controls were changed.
40
Beat-wide Parameters
Dave Smith Instruments
Mixer and Effects
A 32-input mixer permits unique
mix (volume, mute, solo, pan, delay
send, and delay on/off for each
sound) and effects settings (delay
time, delay feedback, distortion,
compression) for each Beat.
The Delay feature acts like a digital
audio delay but instead creates
additional delayed notes in order to
keep Tempest’s entire signal in the
analog domain.
You can change the mixer settings by adjusting the
controls in the Mixer section of the panel, or by
selecting Mixer in the Screens section (pressing Pads
and Sounds together), which causes the Mixer screen
to appear.
Use the Page Up and Page Down keys to switch
between the four mixer screens below:
Mute: Off
This screen adjusts Volume, Pan,
Mute, and Solo for each sound pad.
This screen adjusts Delay Amount
and Delay On/Off for each sound
pad. Note that sounds must be velocity-sensitive for the delayed notes to
have volumes other than full.
This screen adjusts Delay Repeats
and Delay Time for the delay send
mix.
This screen shows the Beat’s settings
for the panel’s Distortion and
Compression controls.
Tempest Operation Manual
Solo: Off
Pan: C
Mixer
Amt: 0
Delay On
Mixer Del
Delay Rpts
7
DELAY REPEATS
Delay Time
1/8 Dot
DELAY TIME
Delay
Distortion
70
DISTORTION
Compression
64
COMPRESSION
Comp/Dist
Mixer and Effects
41
Real Time FX
The Real Time FX touch sliders have two modes:
• Beat FX: The sliders can alter the sound of the
entire Beat playback.
• Note FX: The sliders can alter parameters of a
single Sound, and those changes can be recorded
into the Beat.
Beat FX
If Pad Function is set to 16 Beats, Beat FX mode is active, in which slider movements affect Beat-wide sound parameters, altering the sound of the entire Beat’s
playback. In this mode, the Playback key is always on.
Try it out. Select the 16 Beats key, press a beat pad and press Play. Now press
either of the sliders and move your finger up and down. Hear how your finger
movements alter the sound of the Beat. Now hold Shift and press the left Latch
On key, then move your finger on the left slider as the Beat plays. Notice that
you hear a different sound change, because you’ve just selected the alternate FX3
function for the left slider.
Here’s what the keys do:
Playback key
The Playback key is always on.
Shift + Playback: Assign
This displays the Beat FX Assign
screen, permitting the viewing or
editing of the Beat FX assignments.
The Latch On key
Normally the sliders are active only when you touch them. If the Latch On
key is on, the sliders remain active at their last touched positions at all times.
Shift + Latch On: FX1/FX3 or FX2/FX4 Select
Pressing Shift + the left Latch On key toggles the left slider between its FX1
and FX3 functions. Pressing Shift + the right Latch On key toggles the right
slider between its FX2 and FX4 functions.
42
Real Time FX
Dave Smith Instruments
To view or edit the Beat FX assignments, press Shift + either Playback key:
Soft Knob 1: Select Row
Select one of 8 Beat FX modulation
paths for editing.
Edit Beat FX1
Source
Proj: Saturday night gig
Beat FX1: Slider1 Pos +/Beat FX2: Slider2 Pos +/Beat FX3: Slider3 Pos +/Beat FX4: Slider4 Pos +/120.0
Soft Knob 2: Source
This selects the mod source.
The options are:
“Position +/-” (bipolar with 0 at center,
“Position+” (bipolar with 0 at bottom,
and “Pressure” each for FX Sliders 1-4.
Soft Knob 3: Amount
This control varies the amount of
modulation from -127 to 127.
Amount
Destination
Beat: 14/Uptempo beat
15
BW All Osc Freq
42
BW Lowpass Freq
0
BW All Env Dec
24
BW Highpass Freq
1. 1. 1
Beat FX
Soft Knob 4: Destination
Options are all Beat-wide sound
parameters: All Osc Freq,
Feedback, Lowpass Cutoff,
Resonance, Audio Mod, Highpass
Cutoff, All Env Attack, All Env
Decay and Beat Roll On/Off
Beat FX slider movements are for live performance only and cannot be recorded.
However, Note FX (described in the following section) does permit recording
of slider movements, and Note FX sliders may be assigned to Beat-wide sound
parameters.
Note FX
If Pad Function is not set to 16 Beats, Note FX mode is active, in which slider
movements affect the sound of a single sound pad, altering one of its sound
parameters. Unlike Beat FX, these movements can be recorded into the Beat.
Try it out. Select the 16 Sounds key, then press a sound pad repeatedly while
moving your finger on one of the sliders. Notice that the sound changes as you
move the slider. (If nothing happens, try another sound pad because the one you
selected may have no Note FX assignment.) Now hold Shift and press the left
Latch On key, then move your finger on the left slider as the Beat plays. Notice
that you hear a different sound change, because you’ve just selected the alternate
FX3 function for the left slider. If you move the sliders while recording a sound
pad into a Beat, the value of the slider at the moment the pad is played will be
recorded into the new note, and these parameter changes will be heard when the
Beat plays back.
Tempest Operation Manual
Real Time FX
43
Here’s what the panel keys do:
Playback key
If on, slider movements also affect any
notes of the selected sound pad that play
back from the beat. If on while recording,
these slider movements are recorded
back into the played notes.
Shift + Playback: Assign
This displays the Note FX Assign screen,
described below.
The Latch On key
Normally the sliders are active only when you touch them. If the Latch On
key is on, the sliders remain active at their last touched positions at all times.
Shift + Latch On: FX1/FX3 or FX2/FX4 Select
Pressing Shift + the left Latch On key toggles the left slider between its FX1
and FX3 functions. Pressing Shift + the right Latch On key toggles the right
slider between its FX2 and FX4 functions.
To view or edit the Note FX assignments, select Note FX Assign by holding
Shift while pressing either Playback key:
Soft Knob 1:
Select Row
Select one of the 4
Note FX channels
(within each note
event) for editing.
Soft Knob 3:
Amount
Select the amount
of effect the slider
movement has on
the destination
parameter.
Select Row
Source
Bt: 14/Swing beat 100 bpm
Note FX1: Slider1 Pos +/Note FX2: Slider2 Pos +/Note FX3: Slider3 Pos +
Note FX4: Slider4 Pos +/120.0
Amount
Destination
Snd: A12/Boomy Kick
+64
Osc Pitch
+25
LP Freq
+43
LP Reson
+51
Env Decay
1.1.1
Note FX
Soft Knob 2:
Source
This selects the input for the selected
Note FX channel (1-4) within each note.
Options are Slider FX1-4 Position
(either positive or bipolar) or
Slider FX1-4 Pressure.
44
Real Time FX
Beat & Sound
Each of the beat’s 32
sounds has a unique
set of 4 Note FX
assignments. Those
displayed apply only to
the selected sound.
Soft Knob 4:
Destination
This selects the destination for the
Note FX channel within each note.
A variety of voice modulation
destinations are available.
Dave Smith Instruments
Rec/Edit Keys
These four keys provide a variety of functions
for editing Sounds, Beats, Play Lists,
and Projects.
The Click key
Pressing this toggles the click (metronome) on
or off. The click volume can be changed in the
System: General menu.
Note: Although Click does use one of the voices, after you have a couple of
sounds recorded you shouldn’t need it and it can be turned off.
The Undo Rec key
If the Undo Rec light is on, this means there is something to undo. Pressing Undo
Rec will undo all recording changes made during the last recording pass (since
the moment you started the Beat playing with Rec on) and will turn off the light.
Pressing it a second time will Redo whatever was removed by pressing Undo
Rec. This is a single-level undo.
Holding Shift while pressing Undo Rec invokes the Undo Sound command. This
will restore the selected sound to its last loaded or saved status, undoing any edits
since then. This is a single-level undo.
The Erase key
All notes in a Beat can be erased easily in either 16 Sounds or 16 Beats mode.
In either 16 Sounds or 16 Beats, press and hold Erase, and then press the Erase
All Notes soft key. All notes in the current Beat are erased.
Tempest Operation Manual
Rec/Edit Keys
45
To quickly Erase All Notes of a single Sound Pad from a Beat:
1. Press 16 Sounds.
2. While holding Erase, press the sound pad to be erased.
To Erase All Notes of a single Sound Pad from Sound Bank B:
1. To erase a Sound in Sound Bank B from a Beat, select Sound Bank B
before or after holding Erase.
2. Hit a pad to erase that sound.
To quickly Erase Only Some Notes from a Beat:
1. Press 16 Sounds.
2. Turn Record on and press Play.
3. Hold both Shift and Erase, then during the time that the notes to be erased
are playing, also hold the sound pad for those notes.
The Copy key
To quickly Copy One Beat over another Beat Pad, replacing its contents:
1. Press 16 Beats.
2. While holding Copy, press the Beat pad to be copied from, then the Beat
pad to be copied to.
To quickly Copy one Sound to another Sound Pad, replacing its contents:
1. Press 16 Sounds.
2. While holding Copy, press the Sound pad to be copied from, then the Sound
pad to be copied to.
To Copy one Sound to another Sound Bank:
1. Press 16 Sounds.
2. While holding Copy, press the Sound pad to be copied from.
3. While still holding Copy, press Sound Bank B to switch between banks.
4. While still holding Copy, press the Sound pad to be copied to.
46
Rec/Edit Keys
Dave Smith Instruments
The Edit Function
Holding Erase and Copy together presents a menu of functions for editing
sounds, beats or projects held in RAM memory (not in flash memory)
Copy Sound
Initialize Sound
Rename Sound
Copy Beat
Initialize Beat
Rename Beat
Copy Bars Insert Bars
Delete Bars
Rename Project
Initialize Project
Turn Soft Knob 1 to select one of the edit functions, then press the Soft Key to
select it. Each screen contains up to four fields that are edited using the 4 soft
knobs. Once the fields are set correctly, pressing the Soft Key performs the editing function.
1. Copy Sound
This copies a Sound (in any Beat) over another Sound within the same or a
different Beat. Enter the Source Beat and Sound, the Destination Beat and Sound,
then press the Copy Now soft key.
Note that while Pad Function is set to anything other than 16 Beats, the Copy key
can also be used to copy one Sound pad over another.
2. Initialize Sound
This initializes any Sound (in any Beat) to default settings. Enter the Source Beat
and Sound to initialize, then press the Init Now soft key.
3. Rename Sound
This permits you to rename a Sound (in any Beat). Select the Beat and Sound to
rename, use the Select Char and Edit Char soft knobs to enter the new name, and
press the “Rename Now” soft key.
Note that while this screen is active, the Page Up key becomes Insert Char,
inserting a new character into the name, and the Cursor Up key becomes Delete
Char, deleting a character from the name.
Tempest Operation Manual
The Edit Function
47
4. Copy Beat
This copies any Beat over any other Beat. Enter the Source and Destination
Beats, then press Copy Now.
Note that if Pad Function is set to 16 Beats, the Copy key can be used to do the
same thing.
5. Initialize Beat
This initializes any Beat to default settings at the specified time signature, erasing any previous contents. Enter the Beat to initialize, the Time Signature and
Number of Bars, then press the Init Now soft key.
6. Rename Beat
This permits you to rename both the long and short names of any beat. Enter the
Beat to rename, use the Select Char and Edit Char soft knobs to edit the Name
and/or Short Name (the name that appears in the 2x8 matrix of 16 Beats screen),
then press the Rename Now soft key.
Note that while this screen is active, the Page Up key becomes Insert Char,
inserting a new character into the name, and the Cursor Up key becomes Delete
Char, deleting a character from the name.
7. Copy Bars
This copies a range of bars from one Beat to the same or a different Beat, either
inserting into or replacing the destination Beat’s bars. There are two screen pages.
On the first screen, enter the Source Beat and First and Last Bars to copy, then
press the Next soft key.
On the second screen, enter the Destination Beat and set the Copy Mode to either
Replaces, Insert Before or Insert After. The middle parameter is used to specify
either the First Bar to Replace, the Bar to Insert Before or the Bar to Insert After.
To perform the copy, press the Copy Now soft key.
8. Insert Bars Into Beat
This inserts blank bars into a Beat, using the Beat’s time signature. Enter the
Beat, the Blank Bars to Insert and the Bar to Insert Before, then press the insert
Now soft key.
48
The Edit Function
Dave Smith Instruments
9. Delete Bars from Beat
This deletes bars from a Beat. Enter the Beat, the First and Last Bar to delete,
then press the Delete Now soft key.
10. Change Time Signature of Beat
This function allows you to change the time signature of all measures within a
beat. If the new time signature is shorter, the notes at the end of each bar will be
truncated. Or if the new time signature is longer, the notes at the beginning of
each bar will be copied to the end of the bar to fill the new space. You can also
change the number of bars in the beat. If the new number of bars is greater, the
notes in the earlier bars are copied to the new bar(s) at the end. Or if the new
number of bars is lesser, the ending bars are deleted entirely.
To change time signature, enter the beat, new time signature and number of bars,
then press the Set Sig Now soft key.
11. Rename Project
This renames the currently loaded project. Use the Select Char and Edit Char soft
knobs to edit the name, then press the Rename Now soft key. Note that while this
screen is active, the Page Up key becomes Insert Char, inserting a new character
into the name, and the Cursor Up key becomes Delete Char, deleting a character
from the name.
12. Initialize Project
This initializes the entire Project in RAM memory, erasing all 16 Beats and all
of their Sounds, and resetting them to default settings! To perform the initialize,
press the Init Now soft key.
13. Rename Playlist
This utility allows you to Name or Rename one of the four Playlists. Select the
Playlist number to rename, use the Select Char and Edit Char soft knobs to edit
the Name, then press the Rename Now soft key.
14. Copy Playlist
This utility copies one of the four Playlists to another, in order to rearrange the
order or to edit an existing Playlist.
Tempest Operation Manual
The Edit Function
49
15. Initialize Playlist
This utility initializes the selected Playlist to the default (blank) settings, allowing you to create a new Playlist.
Turn All Notes Off
Tempest is capable of being played from the internal sequencer, the pads,
and MIDI simultaneously. If a stuck note should occur, simply press
Left Shift + Right Shift + Stop to force all the voices off.
50
The Edit Function
Dave Smith Instruments
Save/Load
Pressing Save/Load presents a menu of functions related to saving or loading
files. Like a personal computer, Tempest has both random access memory (RAM)
and permanent non-volatile storage for saved Sounds, Beats, and Projects. The
current Sound, Beat, or Project is always loaded into RAM for playback and editing. Tempest uses flash memory for non-volatile storage.
It is important to understand the distinction between RAM and flash. As with
most PC-based software applications, edits to files in RAM must be saved to
flash to be recalled later. But, like most synthesizers, Tempest will not prompt
you to save changes when powering down or loading another file. It would be
pretty annoying if in the middle of a frenetic, knob-twisting, performance, a
prompt came up asking you to save changes every time you switched Beats or
loaded a file! But, while you are making beats and sounds, it’s good to get in
the habit of saving your work often and, occasionally, backing your work up via
MIDI.
Note: Beats include all Sounds used in them and Projects include Beats,
which, in turn, include all Sounds in each of the Beats. See “Sounds, Beats,
and Projects” on page 3 for a general explanation of the relationship
between Sounds, Beats, and Projects.
Saving Sounds, Beats, and Projects
Sounds are saved to one of several folders in Tempest’s flash memory. They can
also be exported and saved as system exclusive MIDI data.
To Save a Sound to Flash:
1. In 16 Sounds mode, tap a pad to choose the Sound to save.
2. Press Save/Load, choose Save Sound, and press the Next Soft Key.
3. The current source Beat and Sound are displayed and can be changed, if
desired. Press the Next Soft Key.
4. Select the destination Sound folder.
5. Enter the name using the Edit Filename Soft Knob to choose characters and
the Left and Right cursor keys to move the cursor.
• Press the Insert Char Soft Key to insert a blank space before the cursor.
Press the Delete Char Soft Key to delete the character highlighted by the
cursor.
Tempest Operation Manual
Save/Load
51
6. Press the Save Now Soft Key.
Sounds are saved to one of several folders in Tempest’s flash memory. They can
also be exported and saved as system exclusive MIDI data. See page 56.
To Save a Beat to Flash:
1. In 16 Beats mode, tap a pad to choose the Beat to save.
2. Press Save/Load, choose Save Beat, and press the Next Soft Key.
3. The current source Beat is displayed and can be changed, if desired. Press
the Next Soft Key.
4. Select the destination Beat folder.
5. Enter the name using the Edit Filename Soft Knob to choose characters and
the Left and Right cursor keys to move the cursor.
• Press the Insert Char Soft Key to insert a blank space before the cursor.
Press the Delete Char Soft Key to delete the character highlighted by the
cursor.
6. Press the Save Now Soft Key.
Beats are saved to one of 10 Beats folders in Tempest’s flash memory. They can
also be exported and saved as system exclusive MIDI data. See page 57.
To Save a Project to Flash:
1. Press Save/Load, choose Save Project, and press the Next Soft Key.
2. Select the destination Projects folder.
3. Enter the Project name using the Edit Filename Soft Knob to choose
characters and the Left and Right cursor keys to move the cursor. Press the
Next Soft Key.
• Press the Insert Char Soft Key to insert a blank space before the cursor.
Press the Delete Char Soft Key to delete the highlighted character.
Note: If the Project file name already exists, you will be warned that you are
about to overwrite the existing Project file.
4. Press the Save Now Soft Key.
Projects are saved to one of 10 Project folders in Tempest’s flash memory. They
can also be exported and saved as system exclusive MIDI data. See page 57.
52
Save/Load
Dave Smith Instruments
Loading Sounds, Beats, and Projects
A Sound is loaded into RAM from flash and assigned to one of Tempest’s pads.
Sounds can also be imported via MIDI. (See “Importing Sounds, Beats, and
Projects” on page 59.)
To Load a Sound:
1. In 16 Sounds mode, tap a pad to choose the destination Sound.
2. Press Save/Load, choose Load File (Sound/Beat/Project), and press the
Next Soft Key.
3. Choose the Type, Folder, and File, and press the Next Soft Key.
4. The selected destination Beat and Sound are displayed, but can be changed,
if desired.
5. Press the Load Now Soft Key.
6. Press the Again Soft Key to load another file or Save/Load to exit.
The Sound is loaded into the destination pad. Any unsaved edits to the previous
Sound will be lost. Press Save/Load again at any time prior to pressing Load
Now to cancel the operation.
A Beat is loaded into RAM from flash and assigned to one of Tempest’s pads.
Beats can also be imported via MIDI. (See “Importing Sounds, Beats, and Projects” on page 59.)
Load Beat Options (including Loading Sound Kits)
When loading a Beat, there are five options to determine what data gets loaded.
Load Options
Dest Beat
Load Beat “A Bouncy C”:
Normal
BEAT LOAD OPTIONS
Load Now
14/Fast beat #2
DEST BEAT PAD TO REPLACE
120.0
Free 2.5MB
Normal—All Beat data will be loaded into the destination Beat.
Sounds + Mixer—Only the Sounds and mixer settings will be loaded.
Sounds Only—Only the Sounds will be loaded.
Tempest Operation Manual
Save/Load
53
Note: In Tempest there are no separate “Sound Kit” or “Drum Kit” files.
Instead, you can use this option to load only the sounds from any Beat file.
This has the advantage that any Beat file can be used as a sound kit file.
Sequencer + Note FX—Only sequence and Note FX settings will be loaded.
Beat FX—Only the Beat FX settings will be loaded.
To Load a Beat:
1. In 16 Beats mode, tap a pad to select the destination Beat.
2. Press Save/Load, choose Load File (Sound/Beat/Project), and press the
Next Soft Key.
3. Choose the Type, Folder, and File, and press the Next Soft Key.
4. Choose the Beat Load Option: Normal, Sounds + Mixer, Sounds Only,
Sequencer + Note FX, or Beat FX.
5. The selected destination Beat is displayed, but can be changed, if desired.
6. Press the Load Now Soft Key.
7. Press the Again Soft Key to load another file or Save/Load to exit.
The Beat is loaded into the destination pad. Any unsaved edits to the previous
Beat will be lost. Press Save/Load again at any time prior to pressing Load Now
to cancel the operation.
A Project is loaded from flash and replaces the current Project in RAM. (Only
one Project can be loaded at a time.) The last Project saved is loaded by default
on power up. Projects can also be imported via MIDI. (See “Importing Sounds,
Beats, and Projects” on page 59.)
To Load a Project:
1. Press Save/Load, choose Load File (Sound/Beat/Project), and press the
Next Soft Key.
2. Choose the Folder and File, and press the Next Soft Key.
3. Press the Load Now Soft Key to load the Project.
4. Press the Again Soft Key to load another file or Save/Load to exit.
54
Save/Load
Dave Smith Instruments
Loading a Project replaces all the Sounds and Beats in RAM with the Sounds and
Beats in the Project. Press Save/Load again at any time prior to pressing Load
Now to cancel the operation.
Saving and Loading Sound Kits
Tempest doesn’t actually use sound kit files. Instead, you can choose to load
only the sounds from any beat file into the beat you’re working on, so any beat
becomes the equivalent of a “sound kit” file.
Loading sounds quickly from the Pads screen
Sounds can also be loaded directly from the Pads screen in 16 Sounds mode. The
Load Sound parameter enables Sounds for the selected pad to be auditioned and
changed.
Quant: 16th
Swing: 50.0% Sound Type
Load Sound
Bt: 14/Swing beat 100 bpm
Snd: A12/Boomy Kick
Tamb
Claps
Rim
Shaker Block SftSnr
Snare HhOpn TomHi TomMid TomLo
Kick
120.0
HhTite
Ride
1.1.01
Crash Splash
16 Sounds
In Pads view, strike a pad to select a Sound and then turn the Load Sound soft
knob clockwise to load the first available Sound for the current Sound directory. Continue scrolling through the list to audition different Sounds or use the
Sound Directory soft knob to change to a different directory of Sounds. Press the
Revert soft key to revert to the saved Sound.
Note: Revert is available until another pad is struck in 16 Sounds mode.
Pads can be struck in any other Pad Function mode, but once another Sound
pad is struck, Revert is unavailable. To return to the saved settings, reload
the file. Revert Sound always resets the sound to the last loaded or saved
setting of it’s Beat.
Tempest Operation Manual
Save/Load
55
Exporting Sounds, Beats, and Projects
Sounds, Beats, and Projects can be exported over MIDI to a computer application or hardware device capable of recording SysEx data. Most modern MIDI
sequencers are capable of recording SysEx and there are standalone applications
like SysEx Librarian for Mac OS and MIDI-OX for Windows that make it very
easy to record, name, and store SysEx files. SysEx data can also be dumped
directly from one Tempest to another using a single MIDI cable.
Exporting directly from RAM or from saved files in flash memory yields slightly
different results. Sounds, Beats, and Projects exported from RAM contain no
information about their source or destination. If Sounds/Beats/Projects exported
from RAM are later imported, they are loaded into RAM and must be saved to
flash or they will be lost when power is cycled. Sounds/Beats/Projects exported
from saved files will import into flash in the same folder location from which
they were exported and do not need to be saved. But, they do need to be loaded
into RAM if you want to play them.
To Export a Sound from RAM over MIDI:
1. Connect Tempest to the receiving device (computer running MIDI application, dedicated hardware sequencer, etc.) using either USB or a MIDI
interface. If using a MIDI interface, connecting Tempest’s MIDI out to the
device’s MIDI in is sufficient for exporting.
2. In 16 Sounds mode, tap a pad to choose the Sound to export.
3. Press Save/Load, choose Export Sound in RAM over MIDI, and press the
Next Soft Key.
4. The current source Beat and Sound are displayed and can be changed, if
desired.
5. Choose the destination (MIDI and/or USB).
6. Enable the receiving device to receive and record SysEx.
7. Press the Export Now Soft Key.
8. The device records the SysEx data, which can then be named and saved for
backup and importing into Tempest.
9. Press the Again Soft Key to export another file or Save/Load to exit.
56
Save/Load
Dave Smith Instruments
To Export a Beat from RAM over MIDI:
1. Connect Tempest to the receiving device (computer running MIDI application, dedicated hardware sequencer, etc.) using either USB or a MIDI
interface. If using a MIDI interface, connecting Tempest’s MIDI out to the
device’s MIDI in is sufficient for exporting.
2. In 16 Beats mode, tap a pad to choose the Beat to export.
3. Press Save/Load, choose Export Beat in RAM over MIDI, and press the
Next Soft Key.
4. The current source Beat is displayed and can be changed, if desired.
5. Choose the destination (MIDI and/or USB).
6. Enable the receiving device to receive and record SysEx.
7. Press the Export Now Soft Key.
8. The device records the SysEx data, which can then be named and saved for
backup and importing into Tempest.
9. Press the Again Soft Key to export another file or Save/Load to exit.
To Export a Project from RAM over MIDI:
1. Connect Tempest to the receiving device (computer running MIDI application, dedicated hardware sequencer, etc.) using either USB or a MIDI
interface. If using a MIDI interface, connecting Tempest’s MIDI out to the
device’s MIDI in is sufficient for exporting.
2. In 16 Beats mode, press Save/Load, choose Export Project in RAM over
MIDI, and press the Next Soft Key.
3. Since there can only be one Project in RAM at a time, there is no source to
choose. Choose the destination (MIDI and/or USB).
4. Enable the receiving device to receive and record SysEx.
5. Press the Export Now Soft Key.
6. The device records the SysEx data, which can then be named and saved for
backup and importing into Tempest.
7. Press the Again Soft Key to export another file or Save/Load to exit.
Tempest Operation Manual
Save/Load
57
To Export a Sound/Beat/Project from Flash over MIDI:
1. Connect Tempest to the receiving device (computer running MIDI application, dedicated hardware sequencer, etc.) using either USB or a MIDI
interface. If using a MIDI interface, connecting Tempest’s MIDI out to the
device’s MIDI in is sufficient for exporting.
2. Press Save/Load, choose Export saved file over MIDI (Sound/Beat/Project),
and press the Next Soft Key.
3. Choose the Type, Folder, and File to export.
4. Choose the destination (MIDI and/or USB).
5. Enable the receiving device to receive and record SysEx.
6. Press the Export Now Soft Key.
7. The device records the SysEx data, which can then be named and saved for
backup and importing into Tempest.
8. Press the Again Soft Key to export another file or Save/Load to exit.
To Export from one Tempest (master) to Another (slave) over MIDI:
1. Connect MIDI out on the master to MIDI in on the slave. (Tempest is
incapable of acting as a USB host, so transfers must be done using a MIDI
cable.)
• If exporting a Sound from RAM, put both Tempests into 16 Sounds mode,
tap a pad on the master to select the source Sound, and tap a pad on the
slave to choose the destination.
• If exporting a Beat from RAM, put both Tempests into 16 Beats mode, tap
a pad on the master to select the source Beat, and tap a pad on the slave to
choose the destination.
• If exporting a Project from RAM, put both Tempests into 16 Beats mode.
Since there is only one Project in RAM at a time, there is no source or
destination to select.
2. On the master, press Save/Load and choose Export Sound/Beat/Project in
RAM over MIDI or Export Saved File over MIDI (Sound/Beat/Project)
to transfer the data. The slave does not need to be enabled to receive the
transfer. Just press Export Now when ready. Exports from RAM load into
the slave’s RAM; exports from flash load into the slave’s flash.
3. Press the Again Soft Key to export another file or Save/Load to exit.
58
Save/Load
Dave Smith Instruments
Importing Sounds, Beats, and Projects
Importing data from SysEx files is simple. Connect the transmitting device to
Tempest via USB or MIDI—one MIDI cable from the device’s MIDI out to
Tempest’s MIDI in—and then open and play the files from a MIDI sequencer or
SysEx utility. Files exported from RAM load into the current Sound/Beat/Project in RAM; files exported from flash load into flash in the same location from
which they were originally exported. The display will give you the status of the
process and let you know when the file has successfully been saved.
• Keep in mind that importing data exported from RAM replaces the current
Sound, Beat, or Project in RAM. If edits to the current Sound/Beat/Project
have not been saved to flash or exported, they will be lost.
• Files imported into RAM need to be saved to flash or they will be lost when
the power is cycled.
• Files imported into flash need to be loaded into RAM in order to play or
edit them.
Important: Import Notes
Importing a Sound/Beat/Project to flash with the same name as one already in
flash will overwrite the file, so always back up your work before importing a file
if you are not absolutely certain of the imported file’s contents.
Due to the time it takes for Tempest to save a Sound/Beat/Project to flash, you
must have a minimum one-second pause between SysEx files transmitted to the
unit. Otherwise you will get errors from the flash system. SysEx Librarian and
MIDI-OX can both be configured to add a pause or delay when sending multiple
SysEx files.
SysEx files for Projects can be large and take twenty seconds or more to load.
Press the Cancel Soft Key if you wish to stop a SysEx import.
Tempest Operation Manual
Save/Load
59
Renaming Files
Any of the files saved to Tempest can be renamed.
To Rename a File:
1. Press Save/Load, choose Move/Rename File (Sound/Beat/Project) and press
the Next Soft Key.
2. Choose the Type, Folder, and File to rename and press Next.
3. Use Select Char (Soft Knob 3) and Edit Char (Soft Knob 4) to select
and edit characters, respectively. Use Insert Char (Page Up key) to insert
space before the selected character. Use Delete Char (5 key) to delete the
selected character.
4. When the name is complete, press Rename Now.
5. Press Again to rename another file or Save/Load to exit.
Deleting Files
Any of the files saved to Tempest can be deleted.
To Delete a File:
1. Press Save/Load, choose Delete File (Sound/Beat/Project) and press the
Next Soft Key.
2. Choose the Type, Folder, and File to delete and press Next.
3. Press Delete Now to delete the file
4. Press Again to delete another file or Save/Load to exit.
Note: Deleted files cannot be recovered. To cancel a delete operation, press
Save/Load again prior to step 3.
60
Save/Load
Dave Smith Instruments
System Settings
Select Line
System: General
1. Master Transpose
2. Fine Tune
3. Click Level
4. One bar count in
Offset
+0
+0
120
Off
Category
System
Press System to view the System menu. The System menu contains various
global parameters that apply to all operation regardless of the selected Beat or
Sound. Any changes to these settings are remembered even after power is turned
off.
The system parameters are grouped into 9 different categories. Use soft knob 4 to
select the Category, soft knob 1 to select the Line within the category, and adjust
the Parameter Value using soft knob 3.
System Categories
• General
• Foot Pedals
• MIDI Remote Pad Play
• MIDI Polyphonic Keyboard Play
• MIDI Clock
• MIDI System Exclusive
• BPM/Swing/Comp/Dist Sources
• UI Preferences
• System Actions
System: General
1. Master Transpose: -12…+12—Transposes the pitch of all voices in halfstep increments, as much as one octave up (+12) or down (-12).
2. Fine Tune: -50…+50—Transposes the pitch of all voices in one cent incre-
ments, as much as a quarter-tone up (+50) or down (-50).
Tempest Operation Manual
System Settings
61
3. Click Level: 1...127—Sets the volume of the metronome click.
4. One bar count in: Off, On, Record Only—When On, one bar of metronome clicks plays before recording or playback begins. If set to Record Only, the
count in only plays before recording. If Off, no count in plays.
Note: Count in does not play when syncing to an external MIDI clock.
5. Fixed Level Velocity: 2...128—Sets the velocity value used when Fixed
Level in Pad Options is on.
6. Pad Velocity Curve: 1…4—Sets the overall velocity response curve for
Tempest’s pads. The velocity curves allow you to tailor the response of the pad to
your personal playing style. The default value is 2.
7. Local Control: Off, On—Local Control performs a similar function to
MIDI Local Mode on keyboard synthesizers—it internally disconnects the drum
pads from the sound generator. This is useful, for example, if you are using
Tempest with an external MIDI sequencer and wish to avoid sounds playing
twice for each pad hit, due to notes being sent and rerouted back over MIDI to
Tempest. When Off, the pads transmit note and velocity messages via MIDI as
normal, but will not cause Tempest’s internal sounds to play. By default, this is
set to On.
System: Foot Pedals
1 & 3. Pedal 1/2 Mode: Controller, Switch: Norm Closed, Switch: Norm
Open
2 & 4. Pedal 1/2 Assignment: See table—Tempest’s two Pedal/Switch
inputs can be configured to work with either momentary footswitches or expression pedals to control various functions.
Use Pedal Mode to choose the input device: Controller for an expression pedal,
Switch, Norm Open for a normally open footswitch, and Switch, Norm Closed
for a normally closed footswitch.
Mod Source Pedal 1 or 2 routes an expression pedal directly to the Foot Pedal 1
or 2 modulation source. (See “Modulation Paths” on page 37 for more information.) Master Volume routes an expression pedal directly to master volume.
62
System Settings
Dave Smith Instruments
The following table lists the Pedal Assignment options and the input devices with
which they are typically used.
Controller
Footswitch
Mod Source Pedal 1/2
Sequencer Start/Stop
Master Volume
Sequencer Start
System: MIDI Remote Pad Play
1. Remote Pad IN Channel: All, 1…16—Sets the incoming MIDI chan-
nel for MIDI note-to-pad playback and recording. The note-to-pad mapping is
programmed using the MIDI Note : Pad mapping described below.
2. Remote Pad OUT Channel: Off, 1…16—Sets the channel on which
Tempest’s pads transmit MIDI note and velocity data. The pads transmit MIDI
data in 16 Sounds, 16 Tunings, and 16 Levels modes. When 16 Sounds is
selected, pressing a sound pad sends the MIDI note number assigned to the Pad
in “4-35 MIDI Note: Pad A1-B16” described on the following page. When set
to Off, note and velocity messages are not transmitted (but clock and start/stop/
continue messages are).
Note: When ‘16 Tunings’ is selected, the same MIDI note number is sent
for all 16 pads, using the note number assigned to the sound pad playing
from all the pads. However, it is possible to send MIDI note numbers in
the selected tuning as played from the 16 pads in ‘16 Tunings’ mode. To do
this, go to the “MIDI Polyphonic Keyboard Play” screen and set “MIDI:
Synth Sound” to the same sound pad as used in “16 Tunings,” then set the
“MIDI:Synth IN Channel” to a channel other than the one selected above.
3. Pad to Note Mode: Follow Pad Func, Sounds, Beats, Mutes—
I ncoming MIDI Note messages can be used for playing the pads, triggering
sounds, selecting beats, or muting sounds. The 4 options are:
• Follow Pad Func: Incoming MIDI notes will control whatever is selected
by the Pad Function buttons, exactly like the pads.
• Sounds: Incoming MIDI Notes will always trigger sounds.
• Beats: Incoming MIDI Notes will always select one of the 16 beats.
• Mutes: Incoming MIDI Notes will always be used to mute/unmute the 32
sounds [16 each in banks A and B].
Tempest Operation Manual
System Settings
63
4-35. MIDI Note: Pad A1-B16: Any MIDI key—When remotely triggering
sounds from received MIDI Note messages, you can assign which note number
triggers each pad. Assign each of the 16 pads in banks A and B to a MIDI note
number of your choice.
A MIDI note can only be assigned to a single pad. If you try to assign a MIDI
note that has already been assigned, the display will read, (Used:Pad ??) and
show the pad where the MIDI note has been assigned.
The following table shows the General MIDI standard drum mapping.
Note
MIDI Note
GM Inst
A4
69
Cabasa
F#3
54
Tamborine
E2
40
Electric Snare
D2
38
Acoustic Snare
A#3
46
Open Hi Hat
D3
50
High Tom
B2
47
Low Mid Tom
G2
43
High Floor Tom
F5
77
Low Wood Block
D#2
39
Hand Clap
C#2
37
Side Stick
C2
36
Bass Drum
F#2
42
Closed Hi Hat
D#3
51
Ride Cymbal 1
C#3
49
Crash Cymbal 1
G3
55
Splash Cymbal
64
System Settings
Dave Smith Instruments
System: MIDI Polyphonic Keyboard Play
Tempest can double as a 6-voice polyphonic analog keyboard synthesizer, playing the selected sound polyphonically and responding to your MIDI keyboard’s
sustain pedal and pitch bend wheel.
1. MIDI: Synth IN Channel: Off, 1…16—Sets the channel on which one of
Tempest’s Sounds can be played from an external MIDI keyboard or other MIDI
controller, or a MIDI sequencer. When used strictly as a MIDI sound module,
Tempest behaves as a six-voice analog poly synth. It responds to note messages
and the “standard” controllers (pitch bend, mod wheel, aftertouch, channel pressure, etc.), provided that the Sound has those modulation sources routed to some
destination.
When used to record notes to Tempest’s sequencer, the external keyboard or
controller controls the note’s pitch, but otherwise acts much the same as recording from a pad: only one note can be recorded at a time. Velocity and duration
are also recorded. Timing is subject to the current Quantize setting. Because the
sequencer is event-based, continuous controllers such as pitch bend, mod wheel,
and aftertouch are ignored.
IMPORTANT! The MIDI: Synth IN Channel must be set to a different
channel than Remote Pad: IN Channel in order to function properly. If they
are set the same, the note-to-pad mapping detailed under “Remote Pad: IN
Channel” overrides the MIDI: Synth functionality.
Note: Notes played via MIDI are prioritized higher than notes played by
Tempest’s sequencer, so the sequencer should not steal voices while notes
are playing via MIDI. Notes played by the pads have the same priority as
MIDI notes, so they can steal voices from MIDI notes and vice versa.
2. MIDI: Synth Sound: A1…A16—Used to choose the pad—and its assigned
Sound—that plays on the MIDI: Synth IN Channel. Because this is currently a
system-level setting, MIDI data will be routed to the chosen pad, regardless of
the loaded Beat or Project.
3. MIDI: Synth Root Note: C0…C10—Sets the note at which the external
MIDI controller plays the Sound at the same pitch as playing it from the pad in
16 Sounds mode. For example, let’s say the pad plays the sound as an A. In order
to play the Sound from a MIDI keyboard without transposing, MIDI: Synth Root
Note should also be set to an A, perhaps A4 or A5 to play in close proximity to
middle C on the keyboard.
Tempest Operation Manual
System Settings
65
System: MIDI Clock
1. MIDI: Clock Mode: Off, Master, Slave, Slave Thru—In Master mode,
Tempest transmits MIDI clock and start, stop, and continue messages.
In Slave mode, Tempest syncs to incoming MIDI clock and responds to start,
stop, and continue messages. When slaved to an external MIDI clock, Tempest’s
Tempo display is preceded by “EXT.” The master BPM (beats per minute) is not
transmitted via MIDI as a numerical value, so Tempest must calculate the BPM
from the incoming clock, and the value displayed by Tempest is subject to rounding and the accuracy of the master clock. In other words, Tempest’s displayed
BPM value may be slightly different from the master’s, even though they’re
perfectly synced.
In Slave Thru mode, Tempest syncs to MIDI clock and forwards incoming MMC
and clock messages to the MIDI Out port.
Note: In Slave and Slave Thru modes, if no MIDI clock is present at the
selected input, Tempest will not play.
When clock mode is set to Off, MIDI clock is neither transmitted nor received.
2. MIDI: Clock IN Cable: None, MIDI Port, USB—MIDI Clock data from
another synthesizer or sequencer can be received through either the MIDI Port or
the USB cable. If set to “None” MIDI clock data is ignored.
3. MIDI: Clock OUT Cable: None, MIDI Port, USB, MIDI•USB—MIDI
Clock data can be sent out via the MIDI Out port, the USB Port, or both MIDI
and USB. If “None” is selected, MIDI clock out is disabled.
System: MIDI System Exclusive
1. MIDI: Sysex IN-OUT Cable: None, MIDI Port, USB—This control allows
you to select either the MIDI port or USB connector for MIDI Sysex data transfers. If “None” is selected, Sysex will be neither transmitted nor received.
Note: USB Sysex transfers are only supported with Mac OSX and Windows 7.
66
System Settings
Dave Smith Instruments
System: BPM/Swing/Comp/Dist Sources
1. BPM Source: Project, Beat—Each Beat has its own unique tempo setting
(in beats per minute or BPM) but there is also a single tempo setting for the Project. If you wish to use the Beat’s tempo setting (and have the tempo change when
a different Beat is selected), set this to Beat (factory default). If you wish to use
the Project’s tempo setting (so that the tempo stays the same regardless of which
Beat is playing), select Project. Saving a Beat with BPM Source set to Beat saves
the Beat with the current BPM. Saving a Project with BPM Source set to Project
saves the Project with the current BPM.
2. Swing Source: Project, Beat—Each Beat has its own unique swing setting
(50% to 75%) but there is also a single swing setting for the Project. If you wish
to use the Beat’s setting (and have the swing amount change when a different
Beat is selected), set this to Beat (factory default). If you wish to use the Project’s
swing setting (so that the swing amount stays the same regardless of which Beat
is playing), choose Project. Saving a Beat with Swing Source set to Beat saves
the Beat with the current swing setting. Saving a Project with Swing Source set
to Project saves the Project with the current swing setting.
3. Compression Source: Project, Beat, Pot Position—Each Beat has its
own unique compression setting but there is also a single compression setting
for the Project. If you wish to use the Beat’s setting (and have the compression
amount change when a different Beat is selected), set this to Beat. If you wish to
use the Project’s swing setting (so that the compression amount stays the same
regardless of which Beat is playing), choose Project (factory default). If you wish
the Compression setting to always reflect the position of the Compression knob,
choose Pot Position. Saving a Beat with Compression Source set to Beat saves
the Beat with the current compression setting. Saving a Project with Compression Source set to Project saves the Project with the current compression setting.
4. Distortion Source: Project, Beat, Pot Position—Each Beat has its own
unique distortion setting but there is also a single distortion setting for the
Project. If you wish to use the Beat’s setting (and have the distortion amount
change when a different Beat is selected), set this to Beat. If you wish to use the
Project’s distortion setting (so that the distortion amount stays the same regardless of which Beat is playing), choose Project (factory default). If you wish the
distortion setting to always reflect the position of the Distortion knob, choose Pot
Position. Saving a Beat with Distortion Source set to Beat saves the Beat with the
current distortion setting. Saving a Project with Distortion Source set to Project
saves the Project with the current distortion setting.
Tempest Operation Manual
System Settings
67
System: UI Preferences
1. Touch Slider Latch Mode: Active Only, All—When set to Active Only
(the default) and Latch On is active, the latched slider value is reset to 0 when
switching between FX1 and FX3, playing another pad, or switching between 16
Sounds and 16 Beats modes. FX2 and FX4 behave similarly.
When set to All and Latch On is active, the slider values stay latched for a given
Sound, even when switching among FX1, FX2, FX3, and FX4, playing other
pads/Sounds, or switching between 16 Sounds and 16 Beats. Turning latch off
resets all latched values to 0.
For details about the touch sliders, see “Real Time FX” on page 35.
2. Latch Button behavior: Normal, Shift Switched, Disabled—In Normal
mode, the touch slider remains at the last value when Latch On is active.
In Shift Switched mode, the un-shifted and shifted behaviors are swapped. That
is, the Latch On buttons now switch between FX1 and FX3 or FX2 and FX4.
Shift + Latch On turns latch on and off.
When set to Disabled, the Latch On buttons simply switch between FX1 and
FX3 or FX2 and FX4 and the latch function is disabled.
For more details about Latch On, see “Real Time FX” on page 35.
3. Envelope Amount Encoder behavior: Normal, Shift Switched—In
Shift Switched mode, the un-shifted (Amount) and shifted (Velocity Amount)
behaviors are swapped. That is, when Shift is off, the encoder controls Velocity
Amount and when on, Amount.
4. Select Sound behavior: Shift On + Pad, Shift Held + Pad—The default
behavior is Shift Held + Pad. To select a Sound for editing without playing the
Sound, hold Shift down and press the desired pad. When set to Shift Held + Pad,
the pads can still be played when Shift is on.
When set to Shift On + Pad, Shift must either be on or held down to select the
Sound.
5. Tap Tempo behavior: Shift On + Play, Shift Held + Play—With
Tempest’s default behavior (Shift Held + Play), must be held to tap the tempo.
Otherwise, Play starts/restarts the Beat, whether Shift is on or not. When set to
Shift On + Play, Play is used to tap the tempo when Shift is either on or held
down.
68
System Settings
Dave Smith Instruments
System: System Actions
1. Calibrate Analog Oscillators and Filters: Tempest’s analog waveshapes
and filters are calibrated at the factory and should not need to be recalibrated
unless you are experiencing problems.
2. Calibrate Slider 1 and 2 Position: Tempest’s Sliders are calibrated at the
factory and should not need to be recalibrated unless you are experiencing problems.
3. Calibrate Drumpads: Tempest’s Sliders are calibrated at the factory and
should not need to be recalibrated unless you are experiencing problems.
4. Reset System Parameters: Resets all the system parameters to their default
values.
5. Show System Information: Displays the current versions of the operating
systems.
Tempest Operation Manual
System Settings
69
Modulation Sources
Pitch Envelope
Filter Envelope
Amp Envelope
Aux 1 Envelope
Aux 2 Envelope
LFO 1
LFO 2
Velocity
Note Number
Noise
Random
Pad Pressure
Slider Position 1
Slider Position 2
Slider Pressure 1
Slider Pressure 2
Foot Pedal 1
Foot Pedal 2
MIDI Pitch Bend
MIDI Mod Wheel
MIDI Breath
MIDI Expression
70
Modulation Sources
Dave Smith Instruments
Modulation Destinations
Osc 1 Frequency
All Env Amount
Osc 2 Frequency
Pitch Env Attack
Osc 3 Frequency
Filter Env Attack
Osc 4 Frequency
Amp Env Attack
Osc All Freq
Aux 1 Env Attack
Osc 1/2 Mix
Aux 2 Env Attack
Osc 3 Level
All Env Attack
Osc 4 Level
Pitch Env Decay
Osc 1 Pulsewidth
Filter Env Decay
Osc 2 Pulsewidth
Amp Env Decay
Osc 1/2 Pulsewidth
Aux 1 Env Decay
Sub Osc Volume
Aux 2 Env Decay
Feedback Volume
All Env Decay
Lowpass Filter
Pitch Env Release
Resonance
Filter Env Release
Filter FM
Amp Env Release
Highpass Filter
Aux 1 Env Release
VCA
Aux 2 Env Release
Pan
All Env Release
LFO 1 Frequency
Mod 1 Amount
LFO 2 Frequency
Mod 2 Amount
LFO All Freq
Mod 3 Amount
LFO 1 Amount
Mod 4 Amount
LFO 2 Amount
Mod 5 Amount
LFO All Amount
Mod 6 Amount
Pitch Env Amount
Mod 7 Amount
Filter Env Amount
Mod 8 Amount
Amp Env Amount
Aux 1 Env Amount
Aux 2 Env Amount
Tempest Operation Manual
Modulation Destinations
71
Samples
White Noise
Beefy
Supra Snare
Pink Noise
Flat
Loose Ring
Green Noise
Shorty Thud
Trick Snare Rim
Resonant 4K Noise
SCI Tom Cart Kick
Resonant Loose
Soft Noise
LM-1 Bass Drum
Cool Rim
Cicada
LinnDrum Bass
Another Edge
Buzzed
909ish
Cut Snare
Chain Link
808ish
Muted Half Edge
Grinder
Long Time 808
High Edge
420 HighPass Noise
Cut the Mustard
Cracker
Tight Boom
Electron K
Light Rim
Porky
Flab
Dry Rim
Hollow Thud
Solid
Pickle-O
Hollow Head
Early Nineties
Woody Side
Mid Kick
DigiBonk
Side Stick
Slap Kick
Woosh Kick
Dead Side Stick
Thwang Kick
Dirty Woosh
Sharp Side
Resonant K
Distorted 09
Rim Cut
Boom Kick
Grain Granny
808 Rim
Quickick
Bit Reduction
909 Rim
Punchy Kick
Back Scatter
AcouStick
Nice
Crunchy
LinnDrum Rim
Short n Sweet
Distorted Bump
Tom Cart Rim
Bumpy
Reversed
SweetDaOneSnare
Loose
Orangey
808ish
Solid Thump
Snare Add Rim
Quickie
Upfront
Mid Head
Short n Tight
Good Kick
Acoustic
High Short
Metallic
Good Hit
30 Day Snare
Square
Some Head
Fat 9009
72
Samples
Dave Smith Instruments
Funk Sn
Noisy Click
Close Foot Pedal
LM-1 Snare
Splatted Snare
LM-1 Closed
LinnDrum SD
Broken SD
LM-1 Open
Basicly
Ghost of a Snare
LinnDrum HH Closed
Beatbox
Video Game
LinnDrum HH
Machine
Caved Perc
LinnDrum HH Open
Twin
Reverse Snare
Close Tambo
Dry
Edge Heavy
Tight Studio Hat
Short Attack
Pedal Edge
Crack Hat
Digi 8
Pedaled AM
Accent
CompuSnare
Half Edge
HH Dub Plate
Plastic
Open Edge
Dry Tap
Snare Trash
Sharp Closed
Peace Corp
Bucket
Sharp Pedal
Old Timer
Toy Drum
Sharp Half
Blu Pedal
Abrupt
Sharp Open
Fake
What Snare?
Zilch Closed
Open Fat
Canned
Zilch Pedal
Abrasive
Dead Lid
Zilch Open
Tic Tac
Tom Cart SD
Pastey
Noise Hat
Classic
Pastey Half
Reversed
DR55 SD
Heavy Closed
Dirty Pedal
Cold hit
Heavy Open
Barely There
Zippy Thwack
Boss Closed
Click
Crumbly
Boss Open
Quiet
70s Snare
Dark Cl
Shorty HH
Bit Reduce SD
Dark Opn
One Foot Pedal
Distant
Amazon Closed
8080 HH
Filtered SD
Amazon Half
8080 Open
Oil Can
Trash Hat
808ish Maraca
Digital Sweetness
Loose Open Hat
9009 HH
Tempest Operation Manual
Samples
73
9009 HH2
LinnDrum Ride
808ish Hi Tom
Perc Hat
909ish Crash
808ish Mid Tom
DR55 HH
Tom Splash Cart
808ish Low Tom
Right Foot Pedal
Reverse CY
909ish Tom Hi
Another Perc
Res Hi
909ish Tom Mid
Closing HH
Res Mid
909ish Tom Low
Small Hi Hat
Res Floor
Reverse Hi
Unnatural
Nice Hi
Reverse Mid
Trip Hop HH
Nice Mid
Reverse Low
Aliens
Nice Floor
Clap 9090
Silver HH
Punchy Hi
Layered Clap
Kicky Hi Hat
Punchy Mid
Slap Clap
Large Edge Cymbal
Punchy Low
Digi Clap
Zilch Crash
Hi Maple
NotDisClap
Gong
Mid Maple
PerClapsaLot
Pastey Hit
Low Maple
LM-1 Clap
45 Degree Dust
Blue Tom Hi
LinnDrum Clap
Bell Crash
Blue Tom Lo
808ish
Oriental Hit
Tonic Tom Hi
9090
Higher Cymbal
Tonic Tom Low
Reverse Clap
No Name Crash
Acoustic Hi
How Now
909ish
Acoustic Low
Real Cow
LinnDrum Crash
Tom Splat
Tang Cowbell
808ish Crash
Thudd Tom
Dinky Cow
Hertz Cymbal
Wood World
Short Cow
Flat Ride
SCI Tom Cart
80s Cowbell
Medium Bell
LM-1 Hi Tom
LM-1 CowB
Blue High Ride
LM-1 Lo Tom
LinnDrum CowB
Small Gong
LinnDrum TomHi
OG 808 Cow
Smooth Ride
LinnDrum TomMid
Reverse Cowbell
Shortcut
LinnDrum TomLo
Cross Stick
74
Samples
Dave Smith Instruments
Light Cross
808ish Lo Conga
Punch n Drag
Low Cross
LM-1 CongaHi
Nutrino
Jam Block H
LM-1 CongaLo
Solar Explosion
Jam Block L
LinnDrum Conga
Wrinkled
Keys
Tambourine
Quark
Guiro
Tambo Ring
Particulate
Castanet
TamBell
Hadron
Drag That Click
Metal Tamb
Flutter
Moon Golf
Wood Tamb
Broken Toy
Real Shaker
LM-1 Tamb
Click Reduction
Cabasa A
LinnDrum Tamb
Fazzle
Cabasa B
Raucous Tamb
Grunt
LM-1 Cabasa
Tri HiFi
Bucket Bottom
LinnDrum Cabasa
Short Triangle
Charged Porceline
Real Fingers
Noisy Bell
Brrrrr
Cute Drum Robot
Flexi A
Shorted
Digi Click
Flexi B
BeatBox
Bit-o-Clap
Stick on Metal
Tap That
Hot Tabla Lo
Clank
Boxer2
Hot Tabla Mid
Sounds Like?
Flat Perc
Hot Tabla Hi
Abrupt Metal
Flat Click
Hot Tabla Highest
808ish Clave
Filtered Perc
Tabla Bounce
Rico Clave
Vacant
Udu Bounce
Phazey Click
Hybrid Click
Udu u Do 1
Coming Up
SCI Tom Cart Laser
Udu u Do 2
Choked Perc
SCI Tom Scratch
What Conga
Hollow Box Lid
Needle On
Conga 1
Oil Drum
Outta Time
Conga 2
Canned Perc
Sine 130.81 Hz
Conga 3
Half Full
Sine
808ish Hi Conga
Pla-stick
Sawtooth
Tempest Operation Manual
Samples
75
Square
Orient
Corn
WmBell
HighPipe
Flute 2
RdBell
Mass
Med Pure
R2Bell
ReedOrg
Tuba
W2Bell
OrgAhh
FullBell
FmtBell
MelOrg
FzReed
Clarinet
FmtAOh
AhhFem
FmtAhh
AhhHom
Banjo1
AhhBass
TriPlus
RegVox
DisBel
Vocal1
Pulse2
Vocal2
Pulse3
Harmony
SqrReed
Bass
Oohh
Guitar
Eehh
Nice
Feedback
WWind
Piano1
Oboe
E.Pno
Harp
M.Harm
Pipe
VS 23
Hack1
HiTop
Hack2
WmReed
Hack3
VS 26
Pinch
Hollow
BellHrm
BellOrg
BellVox
BassBell
Hi Harm
Tine1
Hi Reed
SynBell
BellReed
VS 32
WmWhistl
76
Samples
Bell
Pinch
Clustr
M.Pinch
VoxPnch
OrgPnch
AhhPnch
PnoOrg
BrReed
NoFund
ReedHrm
LiteFund
MelOrg
Bell Partials 1
Bell
VS 84
VS 85
VS 86
VS 87
VS 88
VS 89
VS 90
VS 91
VS 92
Piano2
Bell Partials 2
VS 95
Dave Smith Instruments
Support
Troubleshooting
Here are a few suggestions for resolving problems that may occur.
The sequencer has stopped running.
Make sure MIDI: Clock Mode in the System menu is set to Auto, Master,
or Off, or—if set to Slave—that MIDI: Clock In is set to MIDI Port or USB
and that MIDI clock is actually available to that port.
An oscillator or filter sounds strange or out of tune.
In the System menu, choose Calibrate Analog Oscillators and Filters.
Note: It is not necessary to run the calibration routine on a regular basis.
You should only run it if you are experiencing problems.
The Real Time FX sliders are not behaving as expected or don’t
seem to go full range.
In the System menu, choose Calibrate Slider 1 and Slider 2 Position and
follow the instructions to calibrate the sliders.
Still experiencing a problem?
From the System menu, choose Reset System Parameters.
Contacting Technical Support
If you are still having a problem with Tempest, contact Technical Support at
support@davesmithinstruments.com. Please include your Tempest’s serial
number, the versions of the operating systems (from the System menu, choose
Show System Information), and the purchase date.
Note: If you have not already reset the Global parameters and run the
calibration routine (see “Troubleshooting,” above), you should do it before
contacting Technical Support. It’s probably the first thing they’ll ask you to
do.
Tempest Operation Manual
Support
77
Warranty Repair
Dave Smith Instruments warrants that Tempest will be free from defects in materials and/or workmanship for 1 year from the date of purchase. Please register
your product online at www.davesmithinstruments.com to establish the date of
purchase. (This is not a requirement for warranty service, but it will help expedite
the process.)
Please contact support@davesmithinstruments.com to determine the best course
of action for getting your Tempest repaired. For your own protection, as well
as ours, please do not return any product to Dave Smith Instruments 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 Tempest’s serial number
• The date of purchase and where purchased
If you need to return your instrument for repair, you are responsible for getting
it to DSI. We strongly suggest insuring it and packing in the original packaging.
Damage resulting from shipping a product with insufficient packaging is not
covered by warranty.
78
Warranty Repair
Dave Smith Instruments
Dave Smith Instruments
1527 Stockton Street, 2nd Floor
San Francisco, CA 94133
USA
www.DaveSmithInstruments.com
DSI-807R 5-21