Back in the 40s and early 50s, building simple electronic projects was a popular hobby of many people. Back then, you could buy, you know, a few parts and – with tubes and build something on your kitchen table, and it would actually work.

What inspires me is not so much the music as the opportunity to interact with composers. I think that has driven everything I’ve done.

One always has to remember these days where the garbage pail is, because it’s so easy to make sounds, and to put sounds together into something that appears to be music, but it’s just as hard as it always was to make good music.

Part of what I do is a craft, but part of what I do is a science. And I guess the craft comes in knowing what science to use and what science not to use.

By the time I got to building synthesizers, I had perhaps 20 years experience building electronic musical instruments.

Back in the 40s and early 50s, building simple electronic projects was a popular hobby of many people. Back then, you could buy, you know, a few parts and - with tubes and build something on your kitchen table, and it would actually work.

He brought electronic music to the masses and changed the way we hear music.

In the final weeks of his life, he was bedridden,

I'm an engineer, ... I see myself as a toolmaker, and the musicians are my customers. They use the tools.

It's certainly more than a technological activity, although we instrument designers certainly use electronic technology as a design tool. But I wouldn't call it an artistic activity. We're toolmakers. Making tools is a craft, maybe even a high craft. I'd say that we are craftsmen rather than artists.