David Ferguson

"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."

"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."

David's a Mac user, running Emagic's Logic Platinum sequencer on a G3 266 computer. He graduated to Mac Logic in the same way as many musicians — via Notator on the Atari — and still has a lingering fondness for a program that progress tells us is outdated. "I adored Notator. Now I'm reasonably quick with Logic, but I don't think its front window is as good. They felt they had to follow the Cubase line, and I think that was a mistake.