"We are planning to do some stuff from 'Starship Trooper' on [my] CD [ROM]. It might be in tablature, music, and video."

"I keep both hands very tightly down, the nails cut back, I don't use nails hardly at all, just occasionally I'll let them grow if I want the Spanish guitar to have a little bit more 'ping' when I'm on tour sometimes it starts to edge out a little bit, I quite like it. But generally I don't use my nails at all, it's either my thumb or my fingertips, or plectrum and fingertips. So don't worry about not having a nail because the fingertip is a great sound."

"I always try to record with brand new strings, and I try to do all my live shows with brand new strings. I'm an applicator of brand new strings, different strings for different guitars and many of them don't last more than about 20 minutes before they sound not as good as they did when you put them on. That's the way to get a great sound of the guitar is to have the frets shining and the action so it makes sense, and good strings."

"I've used many, many pedal systems which might be featured in yet another forthcoming publication of mine about effects, pedal boards, amps, and all that sort of stuff, and I'm in the very initial stages of working on. If you're referring to, say, KEYS TO ASCENSION, it was a put together system with two volume pedals, wah-wahs, fuzz-box and a selector switch which meant I could go round different ways from a stereo lead, or a mono lead, and go to three different setups, two amps and an effects rack. I had one built ten years ago by Pete Holmes, the company was called Quark, and he now works in Marion Heights Studio, in Montreal, Canada. But he made a brilliant pedal board and if I need one I've got one."

"I don't read or write music. I don't use that form. I use recording, so I when I pick and play and I think I'm playing something nice I record it on a cassette and then I listen back to it and then I turn it round and increase it, enlarge, it, repeat it, add to it, get new ideas, then I've got a piece of music, so that's basically how I do it, and I'm glad you like the music all these years."

"I use about three or four different mics. I use the AKG 414, I use a stereo pair of those, a stereo pair of Electrovoice RE22, and also some Shure Unidyne and also a Sennheiser MD-120 or something, not sure of the number. I'll use different mics and I just make do. I mean you can go somewhere and use fancy old valve mics, and sometimes they hum. But if you're going to buy some mics right now get some Mylab mics, they make very small kind of reproductions of the great mics, they're smaller and they're fantastic to use, so get a Mylab. I use the Applied Acoustic system from GRAND SCHEME OF THINGS onwards: NOT NECESSARILY ACOUSTIC, KEYS TO ASCENSION, the new Yes album, forthcoming works, I use the Applied Acoustic system which is available from the Netherlands."

"I had an electric lute made, it's in pieces at the moment and it has been for many years. It was a good idea and sometime I might get back to it. It was made by a guy called Bart Nagel, he lived in Arizona at the time and he built me this solid lute based on an idea I designed, and he did a great job but it just fell into disrepair really."

"Of course you can start at any age, it's never too late but the sooner the better. You've got to listen to a lot of guitarists, find guitarists you like and listen to them a lot."

"I've seen him play and he's funky and I like the double guitar idea, terrific. I'm not considering working with Pat Metheny; although he's a fine guitarist but I don't exactly have any concepts about that. Friar Park: I don't know what that is."

"Over the years I've done all sorts of things with 'Clap', and I do have cut off points where I can go to one thing, go to another, or if I feel like it just go with the main bit that I wrote. There is a particular thing about those chords, there are times when I don't play them but I'm not going to tell anybody what it is [laughs]."

"Many years ago Gibson did make a custom 175 we thought we were going into production on and it really didn't take off. Then I designed the guitar with the help of Bruce Boland and then he left Gibson so I kind of shelved the idea. I've still have the blueprints to that. At some point there might a guitar like that, there's a possibility of a Martin 12-string along those lines but things are a little slow in that department and I'm not exactly in a hurry. A lot of the signature guitars are pretty interesting; the Les Paul leads in streaks ahead because it's a household name. A lot of the other guitars have to have a particular purpose and I has a few ideas back then in the 80s, some of which have been picked up by loads of companies now, like the electric guitar that's really an acoustic as well, that was what I was trying to do back then. Gibson wouldn't listen to me and years later of course other people are doing it. So it doesn't seem so exciting for me to do it but it was a part of the idea. So maybe little mentions like yours might push me to take it up; thanks a lot!"

"A Fender Duo Sonic 2 I think is a 3/4 scale single or double pickup guitar, quite simple, never really appealed to me. I got info Fenders kind of late and I like the Telecaster, Stratocaster, and Jazz Master but I really didn't like the other guitars very much. So the Duo Sonic is a guitar that almost missed the boat but it hangs in there, they're quite interesting but not exactly my thing. But good luck with it. The Telecaster is one of the most in-tune, and stay in-tune, guitars anybody ever made, but the exact opposite is the Stratocaster which is the most out of tune guitar anybody made. But there again that's what partly makes it so great, you really do have to work at keeping that guitar in tune and it doesn't surprise me that the Duo Sonic is the same."

"On the forthcoming MASTERPIECE GUITARS with Martin Taylor which we hope to have out in May we do a piece called 'Harpnosis' and that's got six harp guitars on it. As for recording mine, I don't recall having recorded it, so I'll get back to you on that one when I eventually recording a harp guitar on my own!"