"I also like Peter Siedlaczek's Classical Choir, which I use quite a lot. Oh, I've got loads. Like Heart Of Africa, a set of two CD‑ROMs which were recorded in Africa — the first volume of that is really useful. And I like Hans Zimmer's guitar samples. Also, for pianos I sometimes use The Ultimate Piano Collection, which has Faziolis, Steinways and Bösendorfers — it's the best sampled piano thing I've come across, though it still doesn't work as well as a real piano, which I'll always use if I can. There's also a CD‑ROM called Distorted Reality, which has lots of mad stuff — that's quite fun. I've even got CD‑ROMs of drum machines — I get asked to do all kinds of stuff."

"Most tracks in Diablo 2 were built around a blend of maracas and the human voice whispering or shouting. Favorite sources for this sound were live, using the 808/909 rack emulator, the Ensoniq percussion library, and Spectrasonics' Heart of Africa. My favorite choral voices were from the ASR-10 libraries and the ubiquitous Symphony of Voices. In the sound department, some Lucas source was also used, with the trademark fireball being found in the portal-generation sound. The Diablo 2 skill tree was a nicely sized task for everyone directly involved, and it meant significant thinking through almost one hundred miniature operas."

"Sample libraries, to me, have become much more important than gear. I buy virtually everything Time & Space put out, apart from the dance‑orientated CDs. I've got the Peter Siedlaczek ones, the Miroslav Vitous stuff, Heart of Asia, Heart of Africa, Ultimate Piano, Mediterranean Instruments... When we were doing the music for Bravo Two Zero, there were some scenes where they wanted Iraqi radio playing, and it was so useful to be able to get a drum loop off Mediterranean Instruments and put a little bouzouki thing over the top. We were able to come up with a pretty convincing forgery really quickly."