I think the idea that people walk around to music is very interesting. They are actually creating the soundtrack to their lives as they walk around to it.

I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.

Except in a few cases like Music for Airports, which was a very clear case of noticing a niche [and] saying, "Okay, there's this situation in which people always play music, and nobody has written music for that situation so I'm going to." So, that was a very clear example of spotting a niche and working for it. I have done that occasionally.

Ideas reflect the moment, and so you have to use them. If you store ideas, they wither.

The Marshall guitar amplifier doesn't just get louder when you turn it up. It distorts the sound to produce a whole range of new harmonics, effectively turning a plucked string instrument into a bowed one. A responsible designer might try to overcome this limitation - probably the engineers at Marshall tried, too. But that sound became the sound of, among others, Jimi Hendrix. That sound is called electric guitar.

Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.

The time I like listening to music most on headphones is, I have a game I play with my brother, he's a musician as well.And he sends me MIDI files of keyboard pieces. So, these are pieces where I just get a MIDI file; I don't know what instrument he was playing them on; I know nothing about his section of the sound of the piece, and then when I'm sitting on trains I do a lot of train travel I turn them into pieces of music. And I love to do that; it's my favorite hobby.