When I only had one or two synthesisers you learn how to do everything on those things and you know them inside out. I think that's the best way to be with them.

I still love pop music, I still have a huge pop music collection, and I like that juxtaposition of styles.

There's a lot of people I know who have a lot of synthesisers and they don't really know anything about them, they know the specifications and everything, but they don't really get to know them.

I tend to work in the mornings, then take a few hours off in the afternoon to walk the dog, and then come back and work in the evening. So, if I can remember my pre-dog walking music when I get back then that's fine, I'll kind of commit to those bits, but if I can't remember them I'll just move on to something else.

I do take a computer to do some processing live and I might use a couple of plug-in synthesisers, 'cause obviously you can take quite a lot of power in terms of sound generation on a computer that I can trigger from a couple of keyboards. And it means I don't have to take some of my vintage stuff and have it trashed by various airlines which has happened in the past. But I still take some vintage stuff with me, I'll take that risk because I like using all that stuff.

I grew up in the South Wales valleys, but I think my parents realised from quite an early age that if they hadn't sent me to boarding school I would have probably gone to prison. And it cost them absolutely everything.

Unless somebody's actually creating something and doing something spontaneous I wouldn't find it at all interesting, to watch or to create, so, I'm trying to make my solo shows something different altogether.