I'm not a deaf musician. I'm a musician who happens to be deaf.

Once you're in a particular country, and you're surrounded by musicians who are so adept at traditional music, you suddenly realize how much there is to explore and digest and learn and experience.

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won't accept you, because we haven't a clue - you know - of the future of a so-called 'deaf' musician. And I just couldn't quite accept that.

I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can't hear the violins well.

My favorite instrument is the snare drum. In Scotland, the snare drum is very prominent in Highland bands. The Scottish style of playing is in my blood. It's a very powerful instrument, but it can also be soothing, like velvet. It's a real challenge for composers.

If we see someone in a wheelchair, we assume they cannot walk. It may be that they can walk three, four, five steps. That, to them, means they can walk.

I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.