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.

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.

I often play on the cello-bass side of the orchestra, because I prefer the deep sounds. I can’t hear the violins well.

There are many collaborations I’d like to explore. One is to co-write a rap concerto with Eminem.

I’ve kept a diary since I was 11.

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.

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.

I didn’t decide to become a musician until the age of 15, which is quite late.

Apart from Scottish traditional music, I wasn’t really influenced by any kind of music. I just basically followed my own instincts.

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won’t accept you, because we haven’t a clue – you know – of the future of a so-called ‘deaf’ musician. And I just couldn’t quite accept that.