Entrevista de M-Audio a BT:

GILL (M-Audio): I understand that Reason is turning your computer into your primary instrument?

BT: I am a huge user of this program. I was one of the people waiting, sending e-mails: ‘I want a Beta please, I'm dying,’ you know. It’s just such an exciting program and it's unique on so many different levels. I treat it as an incredible writing template. I've built this massive sound library from all the different beat-box machines and samples that I've collected over the years. I’ve got almost a 30GB library for Reason now. When I was working on "The Fast and the Furious," I can think of probably 30 film cues where Reason was the basic rhythmic force. I'd sit down and say, ‘we need something that feels this way, a nu skool breakbeat track that's driving and compliments what's happening here! Five minutes with ReDrum, a couple compressor modules, some ReCycle files and you're good. It’s great—I love it!

GILL: How are you using Reason’s sequencer?

BT: I’ve figured out some really cool things. I've been using the Matrix step sequencers on really high resolution and I’ve been automating the resolution and doing things like gating the samplers. You can get stuttering effects almost like real-time granular synthesis because it goes up to 128th note resolution. So you double the tempo—say you're working on a track that's 100 bpm—if you program it at 200 and then put the resolution of one of those matrix sequencers up to 128, you're actually getting 256 worth. You can make things that sound like rain clouds. I'm doing some pretty tweaked out stuff with it too—I'm definitely hitting tab a lot and patching stuff on the back of the Reason rack.

It's just amazing, and I love using it with the Oxygen8 too. My new favorite thing in the world is busting out my titanium laptop and my Oxygen8 on a plane. I sit there and I get thirty Reason files rendered. I just go for it.

GILL: Would we have heard any of that yet?

BT: At least some of the beats on everything I work on have come from Reason—usually all of them. I just use it constantly. My friends will see me using the compressors and they're like, ‘why don't you render them and pull it in’ and I'm like ‘no, but these sound ghetto in a good way.’ They remind me of 160 compressors, and I think it's a real specialty thing. I think it signifies an ushering in of a new era of looking at software as a means to an end. There comes a lot of responsibility with that too. I see kids just learning programs like Reason, but it's important to balance that with having some aptitude and breadth of musical knowledge beyond just programming beats. But I love it—it's a phenomenal tool.

Fuente: http://m-pulse.m-audio.com/articles/december2002/bt-interview.html