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.

The mission [of institution] won't change. It will continue to be what it is: to spread the practice of deep listening and introduce it to people, to do workshops and retreats and certification programs and so on.

Radio broadcasting was only 25 years old when I was born in 1932.

Deep listening is experiencing heightened awareness or expanded awareness of sound and of silence, of quiet, and of sounding - making sounds.

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.

I had invented my own system, my own way of making electronic music at the San Francisco Tape Music Centre, and I was using what is now referred to as a classical electronic music studio, consisting of tube oscillators and patch bays. There were no mixers or synthesizers. So I managed to figure out how to make the oscillators sing. I used a tape delay system using two tape recorders and stringing the tape between the two tape machines and being able to configure the tracks coming back in different ways.

When I am composing, the sounds are leading me to the way I want them to organize.