We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.

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.

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

Working in theoretical systems can take away the juice. It can also be very beautiful, but when you're trying to satisfy a theoretical principle rather than a sonic reality, then it can become dry.

I try to schedule the Intensives wherever I go.

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.

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.