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

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.

I didn't have any sophisticated equipment at all. The equipment we had in the studio at the time was not intended to make music; it was for testing purposes. So we had to repurpose all the equipment to make music. That made me try a lot of different things.

There is a book called San Francisco Tape Music Centre:1960s Counterculture and the Avant-Garde and this book describes everything that you want to know or don't want to know about it, with a lot of documentation.

We have a very large constituency in the world from all of the years that we've done workshops, retreats, and talks. I would say there a few thousand people out there that have some relationship to what we do.

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.

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