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.

First of all I had to teach myself how to use the studio because there wasn't any classes in electronic music. So I'd stay there all night and leave in the morning, observe the sun rise and have a lot of different kinds of sounds in my mind. But it was a quest, it was a search. It was research, it was learning.

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'm thinking of the audience as being ambient, meaning not sitting focused but being in the space and exploring it while listening to the players.

I used to go into the studio around midnight and stay all night.

[Improvisation ] is been with me all my life. We all do it.

The base skill is listening: how I'm listening to the material, how I'm listening to the space. With electronic sound, it's a similar situation of how to produce it and place it so that it works in a space. The first consideration is adopting the space and having work that resonates in the space.