Chase Bliss CHOMPI: TEMPO Firmware – Groovebox DNA for the Playful Sampler

The TEMPO firmware marks a significant shift for the CHOMPI, Chase Bliss’s compact sampler, by reimagining it as a groovebox with a focus on pattern creation and rhythmic play. Unlike the previous Tape firmware, TEMPO introduces a workflow that feels fundamentally different, yet retains the tactile, exploratory spirit that defines the CHOMPI experience. The video’s presenter emphasizes that while the hardware remains unchanged, the musical outcomes and creative pathways are transformed—TEMPO is not just an update, but a new instrument living inside the same box.

This transformation is rooted in an interface designed for immediacy and hands-on control. Key functions remain familiar, ensuring that existing users can jump in quickly, but the addition of pattern-based sequencing and syncable clocking opens up new territory. The video promises a top-down tour of these changes, highlighting both the continuity and the radical new directions enabled by TEMPO’s architecture.

TEMPO’s control surface brings a suite of new and refined features to CHOMPI’s sound design workflow. The four encoders now offer expanded pages and shift functions, making it possible to access speed, direction, volume, pan, and a third page dedicated to sample-specific effects. Notably, the new multimode resonant filter—described as a DJ-style filter with built-in resonance—sits alongside a sample rate reduction effect, both of which operate pre-filter for creative tone shaping. These parameters are saved per preset and per sample, supporting repeatable sound design choices.

Sample start and end points are now more interactive, with encoders two and three working in tandem to define the playback window. This window can be shrunk down to the point where it becomes a wavetable-like oscillator, opening up experimental synthesis possibilities from any recorded material. The video demonstrates this by turning both musical and non-musical samples (like a finger snap) into pitched, filtered tones—showcasing the firmware’s flexibility for both conventional and unconventional sound sources.

Further, the envelope section now features attack and release controls, with toggles for looping and sustain. These toggles, accessed via shift functions, allow users to tailor sample playback for percussive or sustained roles—an essential detail for sequencing. All these controls are designed for quick resets and intuitive access, reinforcing the firmware’s commitment to hands-on, performance-friendly workflows.

At the heart of TEMPO’s groovebox identity is its pattern generator—a hybrid between an arpeggiator and a step sequencer. The interface is designed for immediacy: holding notes triggers them on a rhythmic grid synced to the master clock, while latching (via the loop key) allows for real-time sequence editing. The length of a pattern is determined by the number of notes, and users can add or subtract steps on the fly, with all changes reflected instantly in playback.

Beyond basic sequencing, the pattern generator introduces multiple arp styles (note order, up, down, ping-pong, random) and a set of rest patterns that nudge notes to create rhythmic variety. Probability controls add further unpredictability, allowing steps to jump octaves or alter order. Clock divisions, multiplications, and tap tempo are all accessible from the transport knob, making it easy to adapt patterns to different musical contexts. The result is a sequencing engine that encourages both structured grooves and happy accidents—a clear nod to the playful ethos of Chase Bliss.

TEMPO’s effects engine has been rebuilt to complement its pattern-centric workflow, centering on a clock-synced delay with two distinct flavors. The left side offers a looping delay tied to mathematical clock intervals, while the right side introduces a diffusion reverb for more atmospheric textures. Shift functions add randomization—octave jumps, reverses, and panning—creating pseudo-granular effects that remain musically locked to the tempo. There’s also a freeze function for capturing and looping delay buffers, and a hidden page for per-engine effect sends and feedback control, including a sidechain-style ducking feature that responds dynamically to new material.

The slice engine, running in parallel to the chromatic sample engine, replaces the old one-shot mode. It divides a single audio file into 16 slices mapped to the white keys, allowing for drum kits, melodic content, or experimental sample sets. Users can record directly into the slice engine or import pre-gridded files from a DAW. Start and end points for the sample window affect all slices, enabling creative re-contextualization of material. Both engines can be sequenced and played independently, supporting layered patterns and complex arrangements.

This dual-engine approach is a standout architectural choice, letting users treat CHOMPI as both a groovebox and a sample-mangling workstation. The video demonstrates building drum patterns in slice mode while simultaneously crafting synth voices in the chromatic engine, highlighting the firmware’s potential for DAWless and live performance workflows.