It's hard for me to just practice without writing something.

My studio is designed for atmosphere. I have a really cozy, comfortable room that has a great, huge glass door that views my backyard.

If you have some magical chemistry that actually find the music you make compelling, that is a big bonus.

But, I would be naive not to recognize the number of musicians who tell me they have been influenced by me and sight me - as well as Alex and Neil - as a musician who has been a positive influence on their playing.

I was taking piano lessons with a very good piano instructor in Toronto, and I'm afraid due to my schedule and discipline, it kind of fell apart. One thing lead to another and I was unable to practice as much as I wanted to.

So, I really don't consider myself a fabulous keyboard player.

Sometimes it's nice to have a song that can be taken more then one way, so it can be interpreted differently.

I have a lot of hobbies and I can be very remiss in reminding myself to go down to the basement to work.

For me, how I feel about what I wrote down turns into a song.

I feel safe and comfortable to do that once I know that the song structure around the bass part is very interesting and it satisfies me in a compositional sense.

I have such an extreme attitude about work, where I can just completely be derelict of my responsibilities and then when I am not derelict, I am completely indulged in it. I swing pretty wildly from the two extremes.

Some writing and production projects will be a great way to spend my elderly rock years.

I would like to think that Ben and myself have begun a partnership that will take us into different areas of music that we can continue to write, enjoy and keep me involved with music other then what I do with RUSH.

I guess, we were people who just dedicated to trying to get better.

There was a time when fast playing and fretboard pyrotechnics on the bass were important to me and when I am recording a bass track, that is still very important to me.

With the help of modern technology, I can compose intricate keyboard parts and then I have to go back and learn them in order to perform them properly.

I would like to shift more into writing for and producing people.

I like to practice on the bass, but I don't do it as often as I should.

When I usually go to my studio to work, I start with something that is going to take two minutes just to put some idea down and the next thing I know, ten hours have gone by and my family is screaming at me because they want me to come up to have dinner with them.

For me, there is a lot of room for improvement and there are a lot of things I would like to be better at.

Then, once I have lyrics, being able to shape them around a song is nothing new for me, I've been doing that for 25 years. The soul searching part of it, the spontaneous part of it, that was, and remains, a really terrific process.

I do love using keyboards and I love writing keyboard parts, but I am not a player in the true sense of the word.

I am moved more by melodies, song structure, and evocative textures.

I liked the fact that I was forced to get inside of my emotions and to really try to figure out a lot of what I was going through.

That is what intrigues me; songwriting and song structure and expression.

So, I don't know what is going to happen when the CD comes out, how well it will sell, etc. But, from a personal point of view, it was a very worthwhile endeavor.

I have always felt I was more accurately a Hard Rock musician.

First of all, when you live in a country like Canada, it's quite different from America in the sense that it's very tied to traditions that were born in Britain.

It's hard for me to just practice without writing something.

I like to be able to come and go as I please, and I don't really like having my face and name plastered around. I think it's a bit weird to have your name plastered on every page in a magazine, where in each case you're using a different piece of equipment.

Music is all about wanting to be better at it.

I prefer to think of myself as a musician who is still learning and trying to do something every time out.

I'm a big believer of daylight in the studio.

I love to write. It's my first love.

With me, satisfaction is always very fleeting with our work. I always get a little restless with it.

I feel a little uncomfortable about endorsements.

When I do a take, I very often try things that I haven't planned to try to see if I can pull it off.

Back in the day, fans wrote letters to groups - you'd get them, although it could take a while. Now, artists can go online and there's discussions about what you should and shouldn't be doing. The minute you announce that you're recording an album, thousands of people are telling you what that album should be.

I think jamming is the way we begin to communicate. In the old days, people actually wrote notes on paper and sent them to each other. I guess that's how they jammed.

I think you just have to cross your fingers that there's enough artists out there that keep producing interesting work, and eventually it will form a kind of wave that will force people to pay attention to it.

I think, basically, the music industry is scattered and in a mess. I think you've got lots of people that are so-called 'experts' that have no idea where it's headed.

I worry about my voice 24/7 when I'm on tour. It's like a pitcher and his arm. It's constantly the thing that my whole life revolves around.

It's a battle between record company, between producer and between mastering engineer. Because the louder you make your record in a digital process, the more dynamics are squished out of it. Nobody knows exactly what happens, but the dynamics in the performance disappear, and everything is at the same volume.

It's very rare - and it does happen on occasion - where I'll take a piece of lyric and I'll just sit down and purposefully craft that melody around that lyric because I think the lyric is the wellspring for the song, without question.

Live albums are very important for Rush, and they became sort of a closing chapter for us.

Live records of mine are very painful to listen to because you always think you can do it better. I don't think I have a single favorite one.

Music turned to digital, and suddenly you had the possibility to make things louder than loudest, which boggles the mind but it's true, and what you have are all kinds of different ways of distorting your music.

My diet, my regime, the whole life I have on the road has always got that little bit of stress because I'm always afraid I'm going to get a cold. And it's just such a nightmare when you got a cold or an irritation and you have to do a show.

My emotions are very simple and always have been about the Hall of Fame. It's something that I had absolutely nothing to do with and had no control over, so I never thought much about it, to be frank.