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

When I was playing with synth players, I was still within a conceptual framework of playing music. When I started playing solo, I became much more aware of the acoustic phenomena that the instruments were producing.

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

You have to be loose enough so that when you listen to what's coming, you can follow it. In that sense I am improvising, but I don't think I'm experimenting. I have a problem with the whole term "experimental music."

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 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 lose all track of time on that level. I used to have a really good sense of time. I didn't need a clock to play, and I had a sense of when five, ten, twenty minutes had passed. Now I can only play with a clock.