I try to plant myself where I am and embrace what is there in front of me.

A large part of my work has been collaborating with composers; I think we've commissioned about 140 pieces now, a lot of them percussion concertos.

The thing about playing percussion is that you can create all these emotions that can be sometimes beautiful, sometimes really ugly, or sometimes sweet, sometimes as big as King Kong and so on. And so there can be a real riot out there, or it can be so refined.

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.

I just assumed the world was full of solo percussionists. I couldn't find sticks or music or anything where I was, but that was expected because there was nothing there anyway. And I think that was possibly the greatest asset for me, just not knowing.

Hearing is a form of touch. I could hear less through the ears but more through the body.

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