The San Francisco Tape Music Centre was a kind of collective non-profit that my friends and I got started so that we could pool our equipment and make tape music.

A mouse and a keyboard is not a good performance instrument.

The sound that I play is delayed, it's modified, and it's modulated. It's an intelligent system; it's happening now.

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.

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.

Maybe I'll start from the initial idea, what motivated me to do that. In 1953, I had access to a tape recorder. Tape recorders were not widely available. There was no cassette tape back then. It was a Sears Roebuck tape machine. I put a microphone in the window and recorded the ambience.

[Students] they did the sonic meditations, I would observe them in their ensembles, and the ensembles improved incredibly. So I knew I had something to do and something to say.