We didn’t want to leave something we weren’t going to use.” He did a lot of that and he put it through his mastering outboard gear and fine tuned it until he got everything sounding perfect. So you stack these six or seven different snare stems together and you are not going to get any weird phasing. That was my audio engineer Phil Blackbourn, his idea was to do that so you could have complete control over what you wanted your snare to sound like or what you want your kick to sound like, if you want that level of control … Phil was really meticulous in making sure everything was all phase-alinged. They are all pre-mixed if you want a quick go-to snare or go-to kick but there’s the ability to blend in as much transient boom, reverb as you want and design your own custom snare. With the kick, we’ve got the transient snap as a separate stem if you want to. The snap obviously, meaning the transient aspect of the snare and then the bottom end, the boomy aspect. Little things like the snap and boom and being able to build your own snare, and make it as dry or as wet as you want.
“I think that’s the main thing which makes it different to a lot of other sample libraries.
“It’s one thing just to grab samples but it is another thing to have a really good engineer that can pull it all together in post-production,” says Peter James.
Two of the major factors taken into consideration when creating the samples were A) quality of sound and B) control of use of the samples. The drum samples were recorded at 301 studios in Sydney, where many Hillsong recordings had taken place.
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