DSI Tempest Parameter-Lock-Like Technique

I must admit that I am curious about the Elektron Analog 4 (A4), but not in the market for new gear while I am still on my honeymoon with the DSI Tempest. So, I thought to myself that as complex and sophisticated as the Tempest is there must be some way to simulate something like the A4 parameter lock (a sequencer feature that allows for real-time manipulation of synthesizer parameters on a per-step basis). So, I tried a few experiments using an unorthodox method that requires adjusting the system settings while simultaneously playing in a sequence with a MIDI keyboard. Not an ideal alternative to the workflow of the A4, but useful for me none-the-less. Distraction Surplus Syndrome was produced using this technique. The bass and sustained melodies were played on the SCI Pro-One. Let me know what you think, share your experiences using parameter-lock-like techniques, or read on for recipe details.

I started by copying the same synth patch to all 16 pads in bank B within a new Tempest project. Then I made minor adjustments to all the sounds in the bank (filter, envelopes, LFOs, etc.). This set up the project with 16 sounds ready to be sequenced in such a way that they would sound like they were the same patch p-locked to different settings at each step. The next thing I did was step program each pad onto adjacent steps and then edit the pitches of each step. After doing this I had a pretty convincing p-lock sounding beat, but it took ages to adjust the pitches on all the steps. I knew that it was not practical to use this time consuming method, so I tried another approach.

Still using 16 synth sounds in bank B I hooked up a MIDI keyboard controller and played in the notes by hand. The Tempest allows for external control of one sound from an external MIDI controller that’s set via a parameter in the system settings. To get a parameter-lock-like sequence I started recording, went into system settings, and played in notes from an external keyboard while turning the “MIDI: Synth Sound” knob (pads A1-B16). This takes a bit of coordination, but with a little practice I was able to play in parts with my right hand while switching the setting with my left hand so each note recorded triggered a different sound in bank B. Using this method I was able to program in a whole bank of parameter lock sounding beats in a matter of minutes without ever stopping. If playing the notes in by hand is not your thing you can run an external arpeggiator and just move the pad setting around as the notes are playing into the Tempest. I tried this with Ableton’s arpeggiator and it worked as expected.

A couple of things to watch out for are: 1) accidentally tipping over into bank A and getting an unexpected cymbal recorded (if that’s where your drums are — if you have synth sounds in both banks then this is not an issue), and 2) occasional stuck notes, but this went away once I got out of the system mode and restarted the beat. With the stuck notes it’s not ideal for a live show. However, it works perfectly if you are pre-recording beats to use in a performance. I realize that making changes to system parameters while simultaneously recording in notes is unorthodox, but sometimes weird workarounds and unexpected behaviors are where the magic happens. Another nice thing about this technique is that you have 16 mutes for the part you played allowing for some really interesting variations using the 16 mutes mode.

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About John CS Keston

John CS Keston is an award winning transdisciplinary artist reimagining how music, video art, and computer science intersect. His work both questions and embraces his backgrounds in music technology, software development, and improvisation leading him toward unconventional compositions that convey a spirit of discovery and exploration through the use of graphic scores, chance and generative techniques, analog and digital synthesis, experimental sound design, signal processing, and acoustic piano. Performers are empowered to use their phonomnesis, or sonic imaginations, while contributing to his collaborative work. Originally from the United Kingdom, John currently resides in Minneapolis, Minnesota where he is a professor of Digital Media Arts at the University of St Thomas. He founded the sound design resource, AudioCookbook.org, where you will find articles and documentation about his projects and research. John has spoken, performed, or exhibited original work at New Interfaces for Musical Expression (NIME 2022), the International Computer Music Conference (ICMC 2022), the International Digital Media Arts Conference (iDMAa 2022), International Sound in Science Technology and the Arts (ISSTA 2017-2019), Northern Spark (2011-2017), the Weisman Art Museum, the Montreal Jazz Festival, the Walker Art Center, the Minnesota Institute of Art, the Eyeo Festival, INST-INT, Echofluxx (Prague), and Moogfest. He produced and performed in the piece Instant Cinema: Teleportation Platform X, a featured project at Northern Spark 2013. He composed and performed the music for In Habit: Life in Patterns (2012) and Words to Dead Lips (2011) in collaboration with the dance company Aniccha Arts. In 2017 he was commissioned by the Walker Art Center to compose music for former Merce Cunningham dancers during the Common Time performance series. His music appears in The Jeffrey Dahmer Files (2012) and he composed the music for the short Familiar Pavement (2015). He has appeared on more than a dozen albums including two solo albums on UnearthedMusic.com.

9 thoughts on “DSI Tempest Parameter-Lock-Like Technique

  1. You can get a bit of a parameter lock like feature much easier, although it’s not as flexible or powerful as the Elektron boxes. The sequencer section allows you to adjust the levels for FX1-FX4, which can be assigned to any of the Mod paths you set up for that sound. The limitation is that you only get 4 of them per sound, but you can do some pretty wild things with them.

  2. I own both and I agree that it’s much easier to get param lock on SPS box, but the nice thing of doing this on Tempest is to get the nice analog sound… which in my opinion Elektron failed miserably to accomplish on their other “ANALOG” gears :) Just my feelings! Great job bro!

  3. Thanks, Gabriel. I actually have an A4 on the way, so I will be able to compare them myself soon. Looking forward to seeing what happens with both machines in play.

  4. It is now 2021 and I have the TEMPEST and the RYTM MK2. I love them both, but the TEMPEST still sounds better to me, unless you sample your TEMPEST into the RYTM. lol

  5. @Elektro GOWK Thanks for bumping this post and reminding me of that track and technique from seven years ago! Although I don’t use the Tempest as much as I used to, it will be making a significant appearance on a new 20 track album I’ll be releasing shortly!

  6. It is now 2025, the Tempest was my very first hardware synth & boy! was that a blessing & a curse. I just wish there were CCs for every parameter.

    I got a Elektra One Mk 2 & with some crafty coding, I believe there can be a way to bring more midi functionality to the device.

    All in all, the Tempest is a walking contradiction, a beautiful accident, that had a short post life development cycle due to hardware limitations.. & still, I’ll never let go of it.

  7. I agree, Granj. I doubt I’ve ever get rid of mine either. I’ll have let it sit for years at a time, but inevitably the next time I use it I find new ways to get interesting sounds out of it. For example, and at the risk of divulging secrets, one of the things that has brought new life to the Tempest for me has been the “DSI Tempest Sound Randomizer” tool from Algorithmic Instruments. Check it out here: https://algorithmic-instruments.com/dsi-tempest-randomizer/

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