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The cello is such a versatile instrument. It can rock like the hardest rock guitar, and it can sing like the human voice. We couldn't do what we do without the classical training. It's a hard instrument to play. There are no frets, and it takes finesse and technique to play.

The range of the cello is so big, it can play as low as the double bass and as high as the violin. It has the perfect shape, and its sound is the closest to the human voice.

A cello can sound like so many instruments, but it's only one, you know, like a guitar; it has percussive qualities. It can sing like the violin, you know, like a voice.

People don't think of cello as a rock instrument, really, and we want people to know all the possibilities that the cello can offer.

Even in classical music, the cello doesn't get a lot of respect because the piano and the violin get it all.

It is my aim, my destination in life to make the cello as beloved an instrument as the violin and piano.

We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.

The greatest musical instrument given to a human being is the voice.

When I started learning the cello, I fell in love with the instrument because it seemed like a voice - my voice.

There are limits to how much sound a cello can make. That's part of the framing of acoustical instruments. Finding what those limits might be, and then trying to suggest perhaps even the illusion of going beyond is part of that kind of effort.