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Old 12th June 2020
  #3
Gear Maniac
 
sin night's Avatar
 

Those patterns are played (programmed) on sixteenths. I would either use an arpeggiator or program a midi sequence on sixteenths, playing all the steps (or skipping the first every four, leaving more room for the kick). Maybe put the accent on 3, 7, 11 and 15) by using velocity (so every other step plays softer... or maybe keep it at full velocity also on 4, 8, 12 and 16... you can do it easily if you write the notes on a piano roll...). You can also use velocity to open the filter a little more (instead of affecting the volume).
Apply a tiny bit of swing to your programming, too (otherwise it’s too rigid).
If you use an arpeggiator, play on 1/16th and use a square lfo synced to 1/8th (and maybe retrig on key press, too) affecting a bit the cutoff...

These are just a few ideas, I was too young at the time, but I started working with sequencers in 2000-2001 (Music for Playstation, then Cubasis VST on pc) when I was 14-15 years old and I would often write those kind of patterns in my crappy experiments at the time... I had no access to compressors with sidechain at the time, so I used and abused what midi offered (velocity in particular) and then arpeggiators (when I started using Synth1).
I prefer midi to arpeggiators because they don’t always offer swing...

Also, as suggested, follow the chord progression of the song. Don’t do anything too fancy (well... do it when you’re confident about the basics and you feel it’s appropriate to deviate from the basic templates), keep the same note for a bar (every four kicks) and then change (if the chord changes). You can play the notes of the pattern on different octaves (for example you can play one octave lower on 1, 5, 9 and 13), but always keep the same note. Using the root note of the chord is also a good starting point.

Just my 2 cents... Not necessarily the best way to do it (maybe even wrong?), but that’s how I did those kind of lines as a teenager for a few years since 2000-2001.