The sound and just the fact that it was different from the piano, yet it still had some familiarity [made my fascinated with accordion].

All the way from the first thing that I can remember, like our Victrola - a wind-up record player - and my grandfather's crystal radio, and my father's shortwave radio.

Deep Listening is listening to everything all the time, and reminding yourself when you're not. But going below the surface too, it's an active process. It's not passive. I mean hearing is passive in that soundwaves hinge upon the eardrum. You can do both. You can focus and be receptive to your surroundings. If you're tuned out, then you're not in contact with your surroundings. You have to process what you hear. Hearing and listening are not the same thing.

We think about sitting in a space and hearing some music by having our ears pointed forward towards the musicians sitting opposite us. I'm really not following that paradigm at all.

I felt a challenge to compose music. That's where my challenge was, for the most part.

I didn't have any sophisticated equipment at all. The equipment we had in the studio at the time was not intended to make music; it was for testing purposes. So we had to repurpose all the equipment to make music. That made me try a lot of different things.

My first tape piece was made with that Sears Roebuck recorder. I modified sound using cardboard tubes with a microphone in the end to filter the sound. I had a wooden apple box with a Piezo [contact] mic and little objects that I could amplify on the box. I used the bathtub for reverberation.