The short tape loop in the RE-100 still meant that you could only affect the delay so much. The RE-201 remedied this by using a longer tape loop that was spooled freely within a chamber with no reels. This loose spool approach resulted in less tape wear and fewer transient noises.
Because of their long, curvy waveforms, low frequencies experience phase attenuation more profoundly than other areas of the spectrum. You may want to high-pass your square wave so that it gives the bass line that extra grit without stepping on the feet of your sine’s big clear lows. Additionally, many producers like to make low-end seem fatter by using stereo widening effects. Use these carefully as the phase interactions between the low end of each stereo side can cause destructive interference. Use the mono/stereo switch on your DAW’s master track to check whether your low end survives when everything’s running through the center channel.
Your narrative probably won’t come together in one sitting. So as a first step, get out a piece of paper and do some brainstorming on the following questions. A good narrative, like any great story, has a beginning, middle, and end. To get ideas, think about where you started and where you want to end up.
Lastly, check out how the beat here often delays how it enters. In the first verse, it’s delayed by four bars, the chorus has a little hiccup in bar two, and the V2 delays by two bars. It’s a creative technique.