Tempest Love

[dionysiananarchy]

@""Acidfever""

@dionysiananarchy

i think it showed that dsi is not very experienced in the drum machine world,

they did almost everything wrong from a marketing point of view,

Based on the fact that the godfather of the LM-1, MPC60 and MPC3000, Roger Linn, co-designed the Tempest this explanation doesn’t make a lot of sense. We are talking about three drum machines that revolutionized the drum machine market here…

The character of the Tempest is more likely to be determined most by the re-use of existing DSI voice architecture (which has never been well known for it’s drum synthesis capabilities) than anything else…

i dont think linn had much to do with the voices,
the sequencer is good for regular use, it does what i usually need, like lay back sequences…

but doing the same thng wont work, clearly, thats why it was partly a letdown to some, i dont think dsi knew all issues that would come up, almost all of it different than the issues a synth would have,
people expect a lot, and even more so when big names did it,
,
its all just a guess though, i don’t work for them,

samples with analog filters can be nice, and the tempest sounds good just using them,
but the analog side is harder to get good bass-drums out of it, i can get ones i like, but the fact it, it isnt the best at um,
they should of done better in that area, i shouldn’t be as hard as it is, its not optimized, in any way,u can usually get there, but it takes a while,

thats one area i think there was a lack of understanding how important the kick is to most electronic music these days, the ar clearly went the other way, focused on the kick and made a good one, the analog of the tempest can be really good for other drums,

i have played the tempest with the other gear, the sound generally is more hi quality than that of elektron,… but there is more to it than that, the a4 and other machines are great cause of the synergistic effect of everything.

the tempest, the sequencer basically, plays the sounds,
the elektron the sequencer is part of the sound in the way an lfo is, but much more,

i still might sell the tempest because i am a bit lazy about sound design,

i would probably get a vermona drm, cause it sounds soo good,
or an ar, cause i know the elektron way of doing things, and it sounds good easy,

my only real motivation to post here was that most the reviews seemed to be a bit too dire, or based on it not getting a sound it wasn’t made for,

the tempest is usually judged too harshly and ar too easily, i think in time it will even out and and a more accurate judgement can be made, without the people mad at the os wait times , or the old speculations with a million features,

[Anigbrowl]

@""Acidfever""

Based on the fact that the godfather of the LM-1, MPC60 and MPC3000, Roger Linn, co-designed the Tempest this explanation doesn’t make a lot of sense. We are talking about three drum machines that revolutionized the drum machine market here…

Yeah, but when you actually use one the MIDI sequencing is quite limited, and it doesn’t play so well with other gear (eg you can’t sequence CCs from a DAW or individual parameters in general, only patch modulators). There have been a lot of excuses made for why, about the lack of processing power and memory and so on, but then you look at the specs of the MPC60 from 1987 and the Tempest sequencer looks pretty weak

The character of the Tempest is more likely to be determined most by the re-use of existing DSI voice architecture (which has never been well known for it’s drum synthesis capabilities) than anything else…

I do like the drum sounds I’ve got out of it and think it often gets a bad rap in this area. But it sure slows things down.

Being marketed as a drum machine that does seem a little weird but the TB303 was originally designed as a bass guitar emulator and look where that ended up.

Sort of. It’s not that unusual of a synth architecture, quite close to the Mopho basically. It is a little bit slower to program than usual as a synth because of some drum machine things, eg there are only two knobs for attack and decay in the envleope section, you have to press a button to get at the Sustain/Release parameters. And there’s no free-running LFOs, they retrigger every note-on.

[Elektronot]

@""dionysiananarchy""

as far as sampling goes, its useful if want it, but these machines are really not about that,

the kick gets way too much attention, yes the ar has a much better one,
there are other sounds that are usually used, the snare and hats are just as important, in those areas and most the other , the tempest is as good, better in some, not as good in others,

Thumbs up, thank you

[Elektronot]

Thank you for your comments everyone.

Wherever your ears and motives take you, ENJOY.

[bonkks]

It’s like I wanted a motorcycle and ended up with a truck…of course it’s much more powerful, but at the expense of agility and speed. If you like driving a truck it’s a wonderful machine, but for drums I prefer a different approach than from other instruments.

That really sums up how I feel about it. I end up using it now basically because I feel obligated to since I have so much money sunk into it. I just with they would take a cue from the AR and implement some kind of “machine” system. The screen with the encoders around it would be a perfect fit.