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.
Before my teen years, I was losing my hearing pretty quickly, and I was getting very, very angry. I was beginning to become an angry person because of that.
My first real foreign holiday was my honeymoon 20 years ago, and we went to Bali. It was particularly special for that reason, I enjoyed it very much - I had packed music scores and a practice drum pad, suspecting that I would be completely bored, but actually they remained in my case.
I am really quite fascinated by echo-locating bats and dolphins and have always wondered how sound affects the unconscious brain.
There's still a lot I need to do as a player, as a musician, as a sound creator. I have commissioned 170 pieces: that's still not enough, there are still lots and lots of composers I would like to approach. When I see a composer and I see a performer, I think to combine those forces.
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.
There are many collaborations I'd like to explore. One is to co-write a rap concerto with Eminem.
I want to be able to say on my deathbed that I reached a few people. That would be very nice, just to be able to say that.
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.
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.
Percussion is the most adaptable family of instruments. The biggest challenge is to project percussion in a lyrical way.
Percussion is physical, as most instruments are. The body must function well in order to play the instruments well. Last year I climbed Mount Kilimanjaro.
I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.
When I was 12, I happened to see a schoolmate playing percussion, and it looked interesting. I asked for lessons, and it felt right.
Anything you strike, anything you shake or rattle, or just anything that can be picked up, and you can create a sound.
I walk into a kids' store, and it's amazing, the types of instruments - little squeaky things, rattling things, spinning tops.
I love out-of-the-way, rugged places. For me, holidays are about the experiences, and the people, and the memories, rather than sitting on a nice beach getting tanned. I try to plant myself where I am and embrace what is there in front of me.
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 hope the seeds I have sown will be taken up by those who will follow me because the journey I have begun cannot be undertaken in isolation.
Apart from Scottish traditional music, I wasn't really influenced by any kind of music. I just basically followed my own instincts.
