I'd rather hold one note for an hour and modulate it so that it means something than play 3,000 notes in 15 seconds.

The computer brings out the worst in some people.

Sometimes something intrigues me about particular sounds, how they work together, and I think "Okay, I've found something here; I'm going to take it somewhere." And sometimes just to find a name for that sound, whatever it is, ends up becoming a title of the piece or becoming part of the title.

There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.

A studio is an absolute labyrinth of possibilities - this is why records take so long to make because there are millions of permutations of things you can do. The most useful thing you can do is to get rid of some of those options before you start

You can't do anything interesting with cutting-edge technology except not make it cutting-edge.

Culture is everything you don't have to do.