Frank [Zappa]'s music was never for the mass audience. His music contains specific kinds of information that you won't find elsewhere in rock and roll.

Frank [Zappa] always wanted to do a sound library - he sampled so many great musicians. For piano, for example, he sampled every octave, not just one (that you could just transpose electronically), and he did all different types of attack, with and without pedals, all that kind of stuff.

If you think about how long it takes to write a piece of music for an orchestra, it's outrageous to me, outrageous.

It's the ultimate identity theft when you start messing with somebody's work. Thinking that you could edit the work, or mix it differently, or re-EQ it, or make claims about it that aren't true.

Live concerts were to train the ears and to introduce, constantly, new musical ideas to the audience so the next time they showed up or the next record they would be ready and receptive.

Certainly Apple has improved enormously. At the beginning, the sampling rate was an issue for me, but a bigger argument was over digital rights, which I had.

Musicians more than most people are in the moment. That's the dual nature of that job.