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I had wanted a tape recorder since I was tiny. I thought it was a magic thing. I never got one until just before I went to art school.

I have a very limited knowledge of recording, but the miracle of being able to capture sounds on magnetic tape and the miracle of electricity, and these little magnetic particles, is amazing to me.

I've never been one to think it was cheating to sample this or to loop the drum part there - I've always done that. Even using four-track cassette recorders, I was always doing whatever I could to make it as good as I could.

Magic is like special effects live, and I love to perform, so it sounded like doing magic tricks were a good way to entertain people.

I was using tape loops for dancers and dance production. I had very funky primitive equipment, in fact technology wasn't very good no matter how much money you had.

I had this fascination with four-track recorders when I was in high school.

I taught myself how to use a multi-track tape recorder, which was the first time I recorded myself.

I have some vivid memories of walking around as a child with a cassette tape.

I've got tapes that I'm so thankful that my father made - old reel-to-reel tapes. I've got a ton of those things at home. He kept those like fine diamonds, I mean he kept them, you know, in a box and was very, very careful of them, you know.

I made a lot of different experiments with tapes at that time, until I finally realized around 1995, that sound is an interesting subject for me. Ever since then sound got more and more integrated into my art works, musically as well as physically.