Electronic Music in Cubase Pro, Part 1: Choosing Drum Sounds and Creating Patterns

Programming the Rhythm Pattern

We will program the basic pattern for the chorus section.

We will place samples, synths, and other musical parts in the gaps in the rhythm so that they alternate with the drums.

For this approach, the key is to leave space in the rhythm rather than adding too many kick hits.

As a general tendency across genres, placing a kick on the downbeat of beat 3 can make a pattern feel heavier.
If your pattern feels too heavy or lacks a polished feel, try removing or shifting that hit and listen to the result.

The snare falls on beats 2 and 4, as it does in many patterns.
The hi-hat also uses a simple eighth-note pattern.

Choosing the Drum Sounds

We will use Groove Agent SE 4 as our drum instrument.

Alongside its many presets, it lets you combine individual samples into a custom kit with the sounds you want.

As shown here, you can audition sounds in the media library, then drag and drop samples onto the pads.

What to Look for in a Kick

For electronic music, it is important to choose a sample with a full low end and a clear attack that cuts through the mix.

Keep these points in mind when choosing a kick:

• Consider the frequency content
• Add an attack layer

Insert Frequency on the master channel so you can check the frequency distribution while auditioning samples.
Look for a sample with a peak in the 50–80 Hz range.

One way to strengthen the kick's attack is to layer a sample containing only the initial transient.

Choose a hi-hat or another kick sample, then adjust it so that only the very beginning plays.
Playing this at the same time as the main kick makes it easy to add an attack that cuts through the track.

What to Look for in a Snare

Keep these points in mind when choosing a snare or clap:

• Consider its stereo width
• Control the length of its decay

Stereo width refers to how far the sample spreads to the left and right.

By combining a mono snare or clap like this with

a stereo snare or clap, you can create a wide variety of sounds.

Another effective approach is to program only the mono sound in the verse, then add the stereo layer in the chorus for greater width.

The length of the snare's decay also affects the groove.
Take the song's tempo into account, audition the sample while the track plays, and listen to how the sound changes.

What to Look for in a Hi-Hat

Keep these points in mind when choosing a hi-hat sample:

• Consider how it cuts through the mix
• Consider the length of the sound

For a bright sound that cuts through clearly, choose a sample with a pronounced peak in the high frequencies.

Next, consider the sample's length.

For this track, we are aiming for an eighth-note pattern.
Because the pattern itself is understated, we use a hi-hat with a long release to give it presence and fill the spaces between hits.

• Shorter Sample

• Longer Sample

Simply keeping these points in mind as you audition and choose your kit can greatly improve the quality of your track.

Frequently Asked Questions

Q1. What matters most when choosing a kick sound for electronic music?

Choose a sample with a strong low-frequency peak around 50–80 Hz and a clear attack. We recommend inserting Frequency on the master channel and checking the frequency distribution as you audition samples.

Q2. How can I strengthen a kick's attack?

An effective technique is to play a sample containing only its initial attack, such as the beginning of a hi-hat or another kick, at the same time as the main kick. This can make the kick cut through the track much more clearly.

Q3. Why combine stereo and mono snares?

Build the basic rhythm with a mono snare, then layer a stereo snare in the chorus to add width. This creates a range of different sounds across the sections of your track.