It's not set in stone. I like to keep it rolling and changing, and so I am like, "Great, I get to remake my song."

I think when I was pretty young I got really into the tone of my instrument and I remember just playing one note for an hour to just kind of feel the resonance of the violin.

What you see at the Field Museum is only like, 10 percent of the collection. It's birds of paradise and passenger pigeons and in all these drawers that pull out, these specimens come out and it's spectacular. And it worked out.

There's been this perception that Europeans still hold on to, that they discover the real talented ones in American culture and give them proper credit and that's not true anymore - it used to be. A lot of jazz musicians would get respect in Europe.

I just pay attention to what's in my head. That's my number-one rule.

I really like the sound of analog things where clearly there's something being touched. You can sense that something is handmade. So much with digital, there's a disconnect.

I definitely have to give myself permission, like on "Master Swarm," to rip a lead on that. Just play a violin solo that's - it's a bit showoff-y, but it's fun, so who cares?