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 am also interested in music expanding consciousness. By expanding consciousness, I mean that old patterns can be replaced with new ones.

Deep Listening is listening to everything all the time, and reminding yourself when you're not. But going below the surface too, it's an active process. It's not passive. I mean hearing is passive in that soundwaves hinge upon the eardrum. You can do both. You can focus and be receptive to your surroundings. If you're tuned out, then you're not in contact with your surroundings. You have to process what you hear. Hearing and listening are not the same thing.

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 wrote my sonic meditations and started using them with students. I took a bunch of UCSD students out to Joshua Tree and we did the sonic meditations on the boulders.

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.

I noticed you could monitor the recording that you're making, but you could also monitor the playback head. There's a little distance between them and so you get an echo, right? If you change the amplitude of, say, the playback and play with that, you get different qualities and different sounds. So I was very interested in that phenomenon.