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The sequencer in Reason 4 is much more powerful than the one in previous versions.

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17. Thor’s third filter enables you to patch different signals into the left and right channels independently, so take advantage of this ‘under the hood’ feature to create all manner of cool stereo effects. For example, try panning different slices of a Dr. REX loop left and right, or running one channel of a stereo instrument through additional effects before routing it through Thor.

18. Thor enables you to emulate a vast array of classic synths, and a great way to do this is to look for synth manuals online and find out how many (and which types of) oscillators and filters they have and how they’re patched together – many even include detailed diagrams of the signal routing layout. You can then create Thor patches to emulate the architecture of each one.

19. Create heavy basslines by sending a REX drum loop through a Comb Filter in Thor, setting its frequency to around 273Hz and then sweeping the Resonance from around 70 to 127 and back. Record these tweaks and then tame the sound using an external low-pass filter or EQ.

20. If you have tried the previous tip, you can add even further spice to your build-ups by copying the REX file clip from the Dr. Rex channel to the Thor track and letting both play in build-ups. It works particularly well on Thor’s default Epic Poly setting.

21. You can make your RPG-8 arpeggios a lot less robotic and unnatural sounding by applying some real-time modulation to them (either using recorded automation or by drawing some in). A great parameter to play with is Gate Length. And whenever you get a section you like, try looping that automation clip.

22. Things can get very confusing with so many different types of clip on offer, but you can assign colours to them to make things clearer. Use one specific colour for each type of automation (filter cutoff, for example), another colour for drum parts, another for basslines, another for ReDrum patterns, etc.

23. Just about every parameter on the RPG-8 arpeggiator can be automated, and this includes the Octave Shift control. For some catchy little flourishes, use automation to sweep up from the lowest setting to the highest over one, two, four or eight bars. When used sparingly, this can be a great way to come out of breakdowns, build up to choruses or perform any other dramatic edits.

24. With Reason 4 making it so easy to apply real-time automation to everything, you’ll quite often find that you’re left with a number of automation lanes just sitting there cluttering up your arrangement. Select Delete Empty Automation from the Automation menu and all the empty ones will be instantly removed.

25. Just because the ReGroove mixer lets you use up to 32 different types of groove quantise simultaneously doesn’t mean you necessarily should. Electronic music needs to sound tight, so if that’s what you’re making, you might want to stick with one groove throughout. For music that’s meant to sound live, though, you can apply grooves more liberally.

26. You can get a great stereo arpeggio effect by creating two identical RPG-8 and synth combos (using identical clips to trigger them). Send then separately into the left and right channels of a sub-mixer and then subtly change the levels. You can also use the RPG-8 Pattern sequencer to create a panning effect.

27. Arpeggios are great but they can get repetitive after a while, or even sound a little mechanical straight away. A really good way to inject some variation is to automate some of the creative controls such as Mode, Octave or Insert over the course of a clip. This will change the note pattern being played and make it sound much more interesting.

28. Reason 4’s Combinator now enables you to alter the tuning of the individual synths contained in a patch, making it much easier to try out different settings. To make your changes, simply open the Combinator’s Programmer section, click on the device in question on the left, and alter the Transp setting for it. 

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