It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.

I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.

My mother brought accordion home. She was going to learn to play it so she could teach it and increase her income. And I got fascinated with it, so she backed off and let me do it.

In the beginning we were making tape music, meaning, we were making music on tape.

It's going to take about a year or two for the transfer to be completed. We have a certification program so professionals can teach deep listening.

In the '60s my friends were interested and we were hearing electronic music coming in on community radio from Europe, so that's where it started. And I had a tape recorder and started making things with it.