I can't really deal with buttons. And that's what I keep saying, "Okay, I can't push buttons, because that means I have to take my hands off the keyboard or the buttons or whatever. Don't you understand!" .

There are these sounds that come from outside that work really well if you're listening. If you're not listening, if you're blocking them out, then you don't get it. You don't get the merger of what the players are doing with everything, listening to everything.

After a long section of the glass playing, you'll hear an instrumental sound emerge from some undisclosed location. There'll be a lot of mystery about the sound, I think.

Now, I have about twenty per hand and can change the number of delays, change different parameters, the delays to the modulations and so forth. I developed the EIS over the time period that I was just talking about [1991].

The students were missing out a lot in their ensemble playing because they weren't listening to each other or the environment.

I heard a lot of different kinds of music. I heard country music, I heard jazz, I heard symphonic music, opera, everything you can think of except very modern music.

Listening is not the same as hearing and hearing is not the same as listening