Technique » Tutorials » Tips & Tricks for Getting Started with Cubase 14’s Pattern Editor

Tips & Tricks for Getting Started with Cubase 14’s Pattern Editor

A closer look at Cubase 14’s new, highly tweakable Pattern Editor – an excellent tool for complex drum programming and experimental melodic sequencing. This September, enjoy up to 40% off all Cubase versions, updates, upgrades, and crossgrades. Find out more here.

Some way back in digital history, Cubase existed as software solely dedicated to sequencing external MIDI gear – no audio, no effects, no virtual instruments. The concept of an integrated DAW covering all aspects of music capture and creation had yet to be fully realised (at least outside a few high-end studios).

Now that we can do (almost) anything in Cubase, it is interesting to note how users still seek ways to simplify, inspire, or simply alter their workflow in an effort to achieve creative perfection or, at the very least, find some serendipitous enjoyment that sits somewhere between deliberate intent and pure randomness.

Step sequencers have always been part of this realm, eschewing playing a keyboard or hitting pads, for moving a knob or slider (real or virtual) and seeing what happens.

Cubase has two MIDI Insert plug-ins, StepDesigner and Beat Designer, which offer pattern-based programming methods to complement the long-standing Key and Drum Editor windows.

However, with the addition of the new Drum Track in Cubase Pro 14, Steinberg also introduced a brand new Pattern Editor.

You might also see it referred to as the Pattern Sequencer, and while it is most fully integrated with the Drum Track, it can be used to create drum patterns to trigger both internal and external drum machines and synths.

Let’s take a better look at how we can put it to use.

Pattern Editor Basics

Let’s create a MIDI track for use with the Pattern Editor.

Select Add Track from the main Project menu or press ‘+’ on the Project page.

In the dialogue box, select the new Pattern Event for the Event type.

Open the Lower Zone and navigate to the Editor tab, where you will find the Pattern Editor window.

At its core, the Pattern Editor allows you to create drum (or note) patterns via individual step lanes. Here it is pre-populated with 6 lanes ready to be programmed.

Each lane can have its own assignable number of steps, step resolution (such as 1/8, 1/16), and playback mode (backwards, forwards, etc.), and can be programmed directly by clicking on a step box or through a range of generative functions.

Here, we’ve selected the top lane (assigned to C1/MIDI Note 36) and clicked on ‘4th’ in the Generate Steps section to create a repeating pattern that triggers every 4th step.

We can do a similar thing for other steps.

By default, the pattern will play whenever Cubase is playing, but to gain better control over when and where it plays, you will need to create a Pattern Event for that track in the Project window using the Pencil tool.

Notice how it can also be resized in a similar manner to a MIDI part, with the pattern repeating as it is extended.

Make Some Noise

Let’s explore further by using the new Drum Track to craft a beat. Select ‘Add Track’ as before, but this time choose ‘Drum’ and make sure that ‘Pattern Event’ is selected.

The Drum Machine window should appear, and we then need to select a Preset. Here we’ve gone with ‘Detroit Beginnings’. You should see a colourful array of pads populated with sounds.

Now go to the Editor tab, and you will find the lanes already configured and ready to program. You may need to resize the window to see all steps.

Here’s a pattern started using the Generate Steps function, combined with further tweaking. It’s like a generative version of our long standing Beat Dissected series.

We can adjust the length of each lane’s pattern.

Here we’ve changed the ‘Noise’ hit lane to 12 steps. Everything else remains at 16 steps.

The size of each step can also be altered. Here we’ve switched ‘Hit.Closed 1’ to 1/32 notes and added an extra hit in the pattern.

‘Adapt to Pattern’ allows you to fit a lane’s steps into the existing length of a pattern, allowing each lane to have a completely independent step resolution.

There’s also the option to change the play direction for each step lane.

Together, these enable you to create complex overlapping, polyrhythm and/or poly-metered patterns if that’s your thing. For some, this is a sequencing deal breaker.

More Ways To Make Beats

Let’s create a new Pattern.

For more unusual, but repeating patterns, we can use the Euclidean rhythm generator, where the Pulses and Rotation adjust the density of ‘hits’ and start-point/offset, respectively.

When all else fails, you can go completely random. However, to maintain a more musical feel, each lane can be assigned one of 8 Density types.

Randomisation can be done at both the step lane and global level. Additional options are available in the toolbar menu.

You will also find global and per lane swing options.

Taking The Fast Lane

While not essential, the Parameter Lane (located at the bottom of the window) enables more precise adjustments for each step.

Velocity is self-explanatory, but you can also adjust Repeats (ratchet), Offset (rush or drag), play Probability, Velocity Variability, and Gate length. Here, we’ve added some note repeats.

You can even randomise each parameter within a configurable range. Here we’ve added randomised play probability for some steps.

The final trick in this section is the ability to add step-based modulation of values to VST or Drum Track parameters.

This is done by going to the relevant instrument, right-clicking on a parameter and selecting ‘Pattern Editor: Assign to Step Modulation…’.

Here we’re automating the tuning of some Hats.

It even works with third-party plugins, although you might need to assign it via the Quick Controls window.

Not Just For Drums

Whilst the Pattern Editor is clearly most at home when programming drums, it can be used to create melodic sequences.

Unlike the Key Editor (piano roll), however, you will need to add a lane for each pitch/note you want to trigger.

Here, we’ve chosen a few notes to control, added the relevant lane, and randomised the lot.

The sound comes from Retrologue.

It does feel fiddly when used this way, but it can be handy for creating unusual musical phrases, building an ambient music generator (make the lanes long and adjust the probability), or simply as a source of ideas.

Finally, if you tire of doing it this way, you can turn all your work into a regular MIDI pattern.

If you like this article, read how Cubase 14 Modulators are redefining creative automation.

Discover Cubase Pro 14 on the official website. This September, enjoy up to 40% off all full versions, updates, upgrades, and crossgrades. Find out more here.