The barn where I work, it's only 15 minutes or so from Harvard square, so It's very close to the center of Boston, but it happens to be a total oasis. It's completely quiet in there.

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.

I started thinking, my gosh, all this sophisticated software for measuring how Yo-Yo plays, and how he moves and this technique of the bow, I should be able to use similar techniques for measuring the way anybody moves, and so somebody who is not a professional or a trained musician, I should be able to make a musical environment for them.

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.

After a year, I thought gee I don't really need college anymore, which wasn't correct, but that's what I thought.

I listen to a lot of music that teenagers are listening to because I'm around them.

I row for about 40-45 minutes every morning and put in my iPod and it's a huge range. That's when I listen to either things that I just love and know very well and just want to pay attention, it's also where I listen to things that are new that I want to get to know.