You run into stereotypes so that the stereotype filters who you are and what you do, and having to deal with that was the most frustrating thing for me.

That change happened about 1991. It was not possible to transfer the Expanded Instrument System to the computer until then, when 16-bit recording became available.

Before that, an 8-bit recording was pixelated; it was really bad. It didn't serve what I was doing, which was recording live sound and delaying it and feeding it back. This is essentially what the EIS system is: a bunch of delays.

I think that this performance with the Thingamajigs is going to be an exploration of the acoustic space and particularly the vertical space, which we don't think about so much.

I have a commission to do a piece in a place in California, Oliver Ranch, which has an eight-storey structure called The Tower designed by the visual artist Ann Hamilton.

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.

When we had the San Francisco Tape Music Center, we had a couple of Ampex tape machines there, and I could string tape from one machine, past the heads, and over to the next machine to the supply-reel amp, and have another delay there.