When I perform, it's definitely about duration. I don't play any kind of time signature known to man.

In L.A., I called every scrap yard and surplus place that was listed, about 50 or 60 places, and only at one of them did the owner get intrigued and let me go around the yard to find stuff. Because the insurance regulations are such that you can't go into the places anymore.

I'd been collecting different ethnic instruments here and there, and then I started making little bell type stuff, looking for weird little sound toys.

I don't really need new stuff anyway. I like to make big stuff, and it's too expensive to travel with. So I have my refined set that works well, and I'm pretty much set with that.

I started working with synthesizer players, and I had to find new instruments. I needed a more complex sound, so I went to a surplus place and got a bunch of hard plastic stuff and stainless steel stuff, and that stuff worked. So from that point on, from the 70s on, I've made instruments.

I really like accompanying. I like working with vocalists, I've worked with a lot of poets.

I've always been interested in finding out more about the properties of acoustics.