The one obvious thing is that the devices are so good now that you can also see their limitations extremely well.

There's many reason music exists and we are beginning to no only understand that, but measure that.

I had grown up and gone to high school in New York, so I wanted to get out of the east coast.

I like the idea of imagining a sound and feeling a sound and then having it come out through your body, through an instrument. That's an important way to make music.

I think from age 13, 14, 15, I thought, yes, this rich studio produced music is the future, but it can't be the future to go run away into the recording studio. How can we take that kind of complexity and richness and make it possible for people to touch it and play it live. That's what hyperinstruments are.

I listen to new music by composers who are interesting to me. I listen to some; I don't know if I want to call it pop, but it's some interesting artist that gets my attention, I listen to in the mornings.

One of the big mysteries of music is, if you take music without words, it means something to us because we know it's about something. It's about something important humanly, but since there are no words, nobody knows what it's about.