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.

When I composed the first sonic meditation, I realized that I was composing the direction of attention.

It takes time because the habitual response to that is very deep. It goes back to our earliest responses as babies. You have to feel safe, and if a sound is threatening, you're going to be upset. There are those early responses, depending on how and what kind of experiences you had.

I had a lot of good times. I had a lot of fun. I liked what I was doing, so I just kept doing it. At the Tape Music Center, I was working from midnight to four in the morning. Because then it was quiet, nobody was there, and I could just do my work. I didn't have to fool around.

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.

I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.

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.