I think the seed was planted when I was a teenager, and it took me until I got out of Juilliard. At Juilliard I was just learning to be a composer, but I was also learning how to manipulate computers.

I think it's maybe because Sergeant Pepper's came out when I was about 13 or 14 and that was a pretty impressionable age, and it was such a kind of radical period. But that period of the Beatles really had a big influence on me and I think are directly related to hyperinstruments.

I think the seed was planted when I was a teenager, and it took me until I got out of Juilliard. At Juilliard I was just learning to be a composer, but I was also learning how to manipulate computers.

I love the cello, I love the physical sense of an instrument that's about the size of your body that vibrates enough that even if you play an open string, you feel it.

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 have a big barn that I converted to my music studio, so I go there early in the morning and the first thing I do is rowing. And that's when I listen to a lot of music.

Nobody talks about music as having intrinsic meaning, how it engages the mind.