New to Drambo and iOS production - couple questions on starting

I read a post on another site that basically said something to the effect of “if you don’t understand Modular grooveboxes or synth modulation you wouldn’t get it - drambo wouldn’t be a fit for you” - I’m one of those who didn’t know modulation outside of analog terms and recording, and I felt like the message was talking to me

but I also saw the live sessions with drambo and it looked like a mini Bitwig app as an older Pro tools user, so when I saw it was also a DAW like app and audio unit I just took a chance because of the creativity it seems to inspire. It was a good gamble, and since I had a few auv3 compatible and perfect for use in drambo I took the plunge and it’s been awesome

it was a little overwhelming at first, but now that I’m comfortable with the app, I need to simply understand synth production now, or rather get comfortable with this new version or format of recording. In fact I prefer to work in drambo for solid idea sculpting, playing with ideas, and I even see it as a complete production tool (I am quite sure you just can’t make vocals, but that’s just a GarageBand import away for most I would imagine) now.

question time: where/how did you learn how to really get a grip or even mastery of the app and iOS production of this type? Is there a solid reference or bible that often is shared in the community? (Besides the manual I mean of course )

do you use the Arturia minilab 3? Do you prefer the Akai or Nektar to the Arturia?(25 key controller) and with the Arturia, what do you use faders for? I’m familiar with most of the other features but was curious if there were any fader controls of use and how you control them yourselves ?

I have a fairly complete bank of apps/auv3 I purchased, including Zeeon. What are you favorite or top 3 used Audio Units do you use for production?

how many producers use drambo? It’s been out a couple of years so I assume it’s well known in the iOS community . I just bought a MacBook m1 so I decided to finally purchase this but it looks like years went into this piece of software so is there a large base?hundreds? Few thousands ?

it seems Drambo is a unique hybrid of an app, being many things, and the only thing that seems to be similar is Gadget/Nanostudio, but they would be more like a pro tools older model while Bitwig and Ableton live would be more like newer Drambo, is this a reasonable way to compare them or should someone explain it more coherently:) if you would be so kind to help teach an old dog new tricks

how do you use Drambo within aDAW? I suppose if you used all internal Drambo components and no Audio Units, but The auv3 integration is what made me go for it in the end

who are some top dogs to listen to, both for tutorials and for song and musicianship? I would love to hear some epic drambo production hits.

thanks for your time



  • I'd suggest to start from this wiki, which is a bit overlooked and unfortunately not so many people update it, but it still contain some links to interesting youtube channels with a lot of material to study:[]=drambo

    There are also some links on modular synthesis in general etc. Definitely a lot to study for starter :) Otherwise, the best way to learn is to try out to achieve something, if you can't then try to google, browse this and audiobus forum and if you fail, then feel free to ask here. Also following these forums and watching the material on youtube are definitely good sources. There is definitely no "Bible" kind of material that would take you from first steps to "master in Drambo". Drambo is evolving rapidly so it's more about your own initiative.

    You're right that Drambo is still not comparable to full DAWs, especially working with audio, i.e. audio tracks is completely missing, substituting with samplers is also not ideal since they also lack a lot of expected features. But that does not prevent many people from finishing full tracks in Drambo, or at least moving the material from Drambo to some other (usually desktop) DAW to finish it.

  • To answer a few of your questions; I learned about modular synths while building a large eurorack nearly 10 years ago. Eventually I decided to move away from physical format because of its inherent limitations (you always need more modules). But its not rocket science all you need is desire and motivation to learn. I use Drambo mostly self contained without 3rd party audiounits or hosts. The only midi controller I use lately is a Korg Nanokontrol. I have no idea how many users there are (does it matter?) or what artists have used it but I can say that after 30 years of trying every synth I could it is the best synthesizer I’ve ever used.

  • Thanks. Great wiki

    Thank you. I was curious about users because of the patch storage but it doesn’t really matter, and as far as synth goes it is amazing, especially with the wave table oscillator

    with that being said I have zeeon and two other 5 star synths (totaling 500+ synth sounds) for AUv3 so I’m not worried that I can’t make stuff like noisemaker

    I was also referring to the math stuff and a lot of the MIDI stuff I am not accustomed to but I see a lot of those questions as I read around here

    i am enjoying it so far and I am going to go with the Arturia minilab 3 I think after seeing the extra features I could use in other DAW as well

  • edited February 2023

    any time you have questions we can probably answer here. Or check youtube for tutorials.

  • cool

    most of all, I would like some links or examples of artists who have used drambo to make music or even YouTube music videos or tutorials. I saw Ben richards channel is popular for tutorials, so if anyone has an artist, song or suggestion to hear a nice production that would be cool

    thanks again


  • Thanks you were right: I wandered around the forums, saw the music section and listened to him and he/she(?) is amazing! Really good stuff there so I’m going to check out the section.

    one thing I’m actually curious about using is the sampler now. I think it’s a great layer that adds nuance and warm texture to digital tracks.

  • edited March 2023

    Ok so it’s finally time for me to ask my first question but I didn’t want to make a new thread. If mod wants me to next time lmk

    so now that I can make new scenes, and morph, I wanted to know how to implement them into the bounce or mix down track when I’m finished

    live, morphing is the COOLEST feature I think I have ever seen in my life (giku,mad respect again, I had no idea you were the maker until someone mentioned it to me, but your app is so genius it’s mindblowing))

    now when I record how do i

    1) call upon different scenes of a pattern? Like is there a way in the sequencer to play pattern 1a then 1b then 1a again before going to 2 ? I guess this is more of an arrangement question? Otherwise please correct me

    2) is there a way to record automation of the cross fade auditioning that you hear of a given pattern, that you can play with live. I did something where I set 6 scenes and would slide from A to F and back and it sounds so good , but I am not sure how to save that automation . Again if I’m confusing terms please correct me

    Is there a modulator or MIDI module that I am supposed to use? I put a morph module before all the items I morph and it works so I’m doing something right….I just want to be able to call upon different scenes in the arrangement so I don’t make another pattern(one song project is like 20 pattern lines with 8 tracks and no scenes used because at the time I didn’t get it or what it did, or how to access it)


  • I think there was exactly the same discussion, just can't find it now, but in short: crossfader movements and scene switches can't be easily recorded into arrangement, so your best bet would be to switch your scene morphs to Morph module. You can have several "global" Morph modules, put e.g. on Main track and you can put whatever amount of modules you want (think of each as a single scene) and they can, the same as morph scenes, morph as many parameters as you want, across all tracks.

    The only difference is that you don't have a single crossfader but multiple Morph modules, each with a separate encoder. So they don't morph from one scene to another, but they can "layer" as many morphs as you want. Feel free to experiment with e.g. 3 various morphs assigned with different values on one parameter and see how it behaves.

    Once you understand how Morph modules combine, the main benefit is you can either record the automation or simply p-lock the static value to a pattern, making it basically the same as morph scene switching, just that they can be a part of the arrangement. I'd recommend you to not mess with scene morphs for other than live use, but maybe someone would disagree. Just that it can be overwhelming, trying to use both approaches, especially with some automation/p-locks going on.

    As for some variations like "pattern 1 will play with first morph, then after it reaches the end it will play again with second morph" etc... This is not directly supported, so my idea would be to simply enlarge the pattern, it's easy to double (and then double again and so on...) just by one tap on x2 button, which also duplicates all the pattern content and then simply record automation or P-lock the morph value for the enlarged parts. Yes, it's nicer to not repeat stuff, but still if you decide to e.g. edit the pattern, you can reduce it by /2 button and again use the x2 button to repeat the edited portion. Haven't tested it now, maybe I even did it this way sometime in the past and don't remember the details, but AFAIK should work.

    Edit: Now as I am reading this, I realized as you have Morph modules in a Main track, they should be also recorded in main track clips. And since you can have clips of any length, you just record/p-lock automation of morphs in this track. So you don't need to mess with other track contents, they'll repeat exactly as many times as needed for the longest (Main) track clip.

  • thanks for that well written explanation and definitely important edit note you added @skrat

    I’m going to try to watch the video again and implement them into clips rather than main track, and the doubling trick is a good idea actually , didn’t cross my mind

  • hey, how do you clip lock? I think that would be something I am trying to do without knowing the terminology… so pardon me (especially rs2000)

    may I ask: please tell me how to save a “clip lock” parameter change , let’s say just from the clip launcher from 01 to 02, if I want track 1 to have an morph+LFO+delay (just for example), but I want the lfo and delay to change parameters, how do you do that? Would that be correct way of asking

    (its not performance like morph live so you can export the mix down, am I right? I watched bens videos like 4 times before realizing I want alterations to tracks in the clip launcher with just slight varitation between clip patterns)

    I just couldn’t find HOW to make the clip change without affecting the entire track in every other clip/pattern line

    thanks again

  • for clip locks, you just hold the clip - it will sort of highlight - then alter the parameter.

    a lot of my older videos leave out now core functionality because these functions were added later on.

  • Thanks ben

    (your videos are IMHO the best, I love how calm, organized and efficiently methodical you are )

  • Thanks @FearAndLoathing - if you haven’t found them already, I would recommend SoundForMores as well. He has done a better job of producing short videos that cover more granular topics - modules, new functionality, etc.

  • your right, echo showed me. I found Soundformore to be very in-depth and knowledgeable (it’s a little tough with his accent sometimes I lose my self listening to it lol ) but his tutorials are literally the best , he had so many tutorials I was overwhelmed in just the breadth and scope of the amount , but totally, very good videos

    Doug’s in the sound room is also good but he doesn’t have a handle on the modules like you and soundformore. He is an example of how far I have gone basically , just a little better handle now, but I’m around Doug’s ability on Drambo at the moment

    (actually echo was kind enough to really help me a lot , awesome dude Besides being the top 3 Drambo producers in my opinion, all respect to others but Echo, Gravitas and Fleksi are just amazing and I hope to produce like them one day)

  • Hey I had a question about voices

    i sort of understand polyphony in that I’ve experimented with modules and synths and see how one voice , two voices and unison greatly affect the sound, shape and almost everything about the sound

    when using auv3 does polyphony or voices play any role? Or does that depend on the auv3 and how you intend on using it?

    I often see tutorials setting numerous voices and a big upgrade people like is the 8 to 16 voicing available especially in 2.0, but how do you know how many voicings to set?

    I am sure this is subjective and again depends on what you intend, but for instance, the soundformore was building a synth from scratch and set it to 4 voicings, like right away. Is that because he knew 4 voicings is what could be produced or he selected that amount because of a certain predetermined reason with a known outcome ?

    In other words do veterans/pros know from the outset what to set or does it take some experimenting to see what sound you’ll end up with?

    Also, I know I have no business doing so but I was messing with modules to make my own synths, often never knowing what to expect . They are basic (oscillator , LFO, ASDR envelope, and then I try stuff like graphic shaper and throw on some delay or chorus or something) but some of the ones I’ve seen you guys make are insane. My questions is do you know what your sound will approximate or are they usually throwing elements together until you get what you like? In these cases how does your voicing start and does it change as you get to a sound you like ?

    I hope this wasn’t too basic or too confusing. I just want to start to learn how to isolate elements and or add or remove things to make a better workflow. Thanks

  • @FearAndLoathing

    "I am sure this is subjective and again depends on what you intend, but for instance, the soundformore was building a synth from scratch and set it to 4 voicings, like right away. Is that because he knew 4 voicings is what could be produced or he selected that amount because of a certain predetermined reason with a known outcome ?"

    He most probably set it to four voicings because you can play interesting chords with four voices/notes.

    1 voice = mono

    2 or more voices is polyphonic

    "In other words do veterans/pros know from the outset what to set or does it take some experimenting to see what sound you’ll end up with?"

    I'm not a veteran per se as I'm still learning but if I want to design a mega mono synth

    I would set it to 1 voice, if I wanted to play chords then 4 voices or more.

    The advantage of dRambo is that you can adjust that whenever you feel like it.

    "Also, I know I have no business doing so but I was messing with modules to make my own synths, often never knowing what to expect ."

    This, regardless of everything else, is what you're supposed to do with dRambo.

    If you haven't noticed by now, there are no hazard signs?🧐


    "My questions is do you know what your sound will approximate or are they usually throwing elements together until you get what you like? In these cases how does your voicing start and does it change as you get to a sound you like ?"

    Nope not until I get there.

    With experience you start to get an understanding of the timbres and tones

    you want to hear but as with all things it takes time and dRambo and similar apps,

    such as MiRack, are perfect to experiment with.

  • Dude, I must say I think you’re a humble man as you have blown my mind with stuff you’ve done.

    aside from that , thank you and you’re right. It’s meant to be a sandbox for sure, (I was overstating my simple ability compared to guys like you, echo, Ben, Dom,zhou, and ofc rs) and it’s very enjoyable to play with, especially for live stuff like morphing

    i looked at everything from nano studio to beat hawk to beat maker to any DAW or groove box that does auv3, and with update 2.0 I think drambo is the best app out for music . (Cubasis is clearly a full DAW that can use Drambo, but I think drambo offers more for me in terms of what it does and fun…like playing with modular stuff and synths, and I love the sequencer and the clip launcher…I can always export to Cubasis for the vocals/instruments) but lately I just work in drambo

    dRambo Has taken over my iOS /musical life lol

  • @FearAndLoathing

    "dRambo Has taken over my iOS /musical life lol"

    Yeah,... you're not the only one. :)

  • edited March 2023



    In other words do veterans/pros know from the outset what to set or does it take some experimenting to see what sound you’ll end up with?


    That's a very good question. I don't know how much you've worked with synthesizers so far but anyway, you can learn a lot in sound design.

    Most known synths have a common fixed architecture: One or a few oscillators, a filter and one or two envelope controls to adjust the filter frequency and volume over time after you've pressed a key.

    Even simple synths usually have a fairly broad sound palette that can be achieved with them and the more you play with that, the more you get an idea of what the knobs do.

    Same in Drambo. The more you've been in touch with synths, the more you'll know in advance what to do in Drambo when you have a certain sound playing in your head. That's freedom and challenge all in one.

  • edited March 2023

    Thanks man

    so in time, over time, things are starting to click and sync and I figure synths would be like anything else. It’s incredible how you can get a percussive sound, or a soft flowing sound, or a volatile yet predictable sound.

    whatever the case is, I am learning while having fun which is rare . That’s what makes dRambo unique to me, I actually enjoy the steep learning curve as I feel accomplished both in knowledge and also making better tracks each time. Other apps I just put down or deleted and never returned but with this one, I kept coming back until I now have over a dozen decent tracks in my humble opinion, anyway I am proud of them so far even if they need polishing and also I really want to start using samples (and live instruments without loopy pro for instance*)

    i thought people who were mocking peoples affinity for this app, meaning regular users (I now count myself among them though I’m a noob), but I put in 1-2 hours a day in dRambo and I love every second of it

    (last question for now is:

    can you set the sampler to record after the 4 beat pre roll when you click record? There are 4, so I’m not sure whcih to use, and how to for instance record a chord progression in track 1 sampler and then on a different pattern /clip record a different progression in the same sampler track? Is that possible or do you need something like loopy or another AU to record different parts ?

    loopy pro is $30 so I’m trying to avoid that lol

  • @FearAndLoathing You can do that but you need to arm recording manually in each Flexi.

    A handy solution would be to map the REC buttons to a MIDI controller so you can enable and disable recording in each Flexi more easily.

  • edited March 2023

    That’s a FANTASTIC idea, thx! (I did just that and it really is totally possible) dRambo just jumped ahead of all competitors yet again as far as I’m concerned now that I can record my instruments

    *edit - ok I think that’s the limit, one sample per track …so it’s limited but still possible

    PS L7 audio kit looper for $2.99 in the App Store any good an auv3 sampler?

  • @FearAndLoathing

    the Dev stopped updating L7 sometime ago.

    It's useful but it does have stability issues.

  • @FearAndLoathing

    Nothing stops you from having multiple Flexis on the same track. If all you need is to record and play in loops then all you need is the correct Flexi settings and a mixer at the end of the track.

  • Thanks RS

    ill have to figure that type of configuration out, it sounds more advanced than I’m aware of

    if you had a reference I would love to see, but you don’t have to go out of your way at all man( I see how technical you can get and I don’t want to put you out to explain how to configure a proper mixer and sending samplers although I would love to learn that at some point soon , and I hope it’s not too too hard

  • It's very easy @FearAndLoathing, you really only add 4 Flexis in a row, then add a Mixer => Mixer and connect each Flexi output to a new channel in mixer. Finally, make sure the rightmost track output is connected to the Mixer output. That's all there's to it.

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