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Ironically I think this is what sparked my interest in and passion for the NOAH, which is capable of creating all these old weird and wonderful sounds.

I think performance art comes from a simple place of wanting to express things beyond just sound.

Before there were any sort of 'recordings' there was performance. If we are devolved back to the Stone Age tomorrow, there will be performance.

Game music has a purpose and it does incorporate sound effects.

You can sit down with Reason or Ableton and literally in a couple of hours make a very good-sounding record. But then a lot of people become contented with that, rather than pushing themselves to making something that sounds great.

I think that technology has both introduced new sounds but also allowed an increasingly painterly approach to recording music as you can now paint over what you've done and more and more refine an existing performance.

What comprises good performance? The ability through singing or playing to make the ear conscious of the true content and affect of a composition.

I was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.

I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.

The sound world that I created for 'Avatar' had to be very different, really, than anything I ever created before. There is also three hours of music.