I love the cello, I love the physical sense of an instrument that's about the size of your body that vibrates enough that even if you play an open string, you feel it.

My message is to forget about dichotomies. The Brain Opera is an opera, even if it does not tell a story in the usual way. It is a psychological journey with voices - so I do consider it an opera.

The one obvious thing is that the devices are so good now that you can also see their limitations extremely well.

Nobody talks about music as having intrinsic meaning, how it engages the mind.

I think it's maybe because Sergeant Pepper's came out when I was about 13 or 14 and that was a pretty impressionable age, and it was such a kind of radical period. But that period of the Beatles really had a big influence on me and I think are directly related to hyperinstruments.

I listen to a lot of music that teenagers are listening to because I'm around them.

One of the things I like most of all is being in my study, in my barn, with absolutely no sound anywhere thinking about something. It's extremely important to me.