With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.

If I'm feeling confident, then I write confident, happy, or assured music. I can hear some early electronic sketches I did where I'm clearly not confident and everything's a bit mid-range, nothing really pushes through.

Performances are so defined by their venues - it'd be nice for the music to dictate more of the reaction.

I'm less interested in uniqueness than in goodness. I see so many concerts where the program notes are more interesting than the music. I remember talking to one composer who went through the most complicated mathematical algorithm to generate some material from scratch. It took weeks and weeks, and he came up with a C major chord. For me, honesty is more interesting than originality.

It's the balance between wanting the power of electronics and having something real happening - if you want people to engage in what you're doing, I think that's important. I want to have fun with people, but that's hard to do with a laptop.

I've never been really interested in music, classical or otherwise, where the craft is more important than the result. I realized quickly that I'd never be a technical electronic musician.

With the classical stuff, I've always been better at the big brushstrokes and broad textures than spending ages honing a chord, or tweaking a sample.