Music to me was never something that I could listen to while reading a book. Especially when I was studying music, if I was going to listen to music, I was going to put on the headphones or crank the stereo, and by God, I was going to sit there and just listen to music. I wasn't going to talk on the phone and multitask, which I can't do anyway.

Before this DJ thing, I was hopelessly taking things apart to try to figure out how they worked. I'd go mess around with burned-out cars, with my mom's stereo - I was public enemy #1 in my house for that. So my mom noticed that I was interested in this and decided to send me to school so I'd know what I was doing.

If something doesn't work in my house - TV, phone, stereo, anything - I just call my dad, and he knows the answer.

This is not the first time in my life where you know going into a job that you're going to hear in stereo what was wrong with what you did.

For live you need a microphone for the snare and the high hat, the kick drum, a nice stereo overhead and one for the toms - you can get away with using four mikes.

Most people have stereo vision, so why belittle that very, very important element of our existence?

Sometimes I have to run and hide. What I do at home sometimes is, I listen to a CD of the roughness of the ocean. I turn every light off, and I turn the stereo on, and I just go in my mind, cry, talk to God, tell him, 'I'm your child, too.' And I stay in my little solitude until I can get the strength to go outdoors.

I had my first stereo when I turned 12, and every two weeks, I would save up money and buy one CD.

I decided to design and build my own stereo amplifier system at age 13.

I grew up watching Gregory Hines banging out rhythms like drum beats, and Jimmy Slyde dancing these melodies, you know, bop-bah-be-do-bap, not just tap-tap-tap. Everyone else was dancing in monotone, but I could hear the hoofers in stereo, and they influenced me to have this musical approach towards tap.

Your head is a stereo input. The density and cartilage of your ears embed certain extra characteristics into stereo sound sources. Your brain decodes that and gives you sound plus conscious directions.

I had my guitar at the set of 'Lost in Space' every day. I was the only one in the cast who had a stereo in his dressing room. So while I was in school or when I was in there working with Dr. Smith and the robot, half the rest of the cast was in my trailer listening to their records that they would bring.

Film has lost something in the translation to high tech. It's become so super-real. It's with digital this and stereo that, and everything's like a CD.

I grew up in St. Louis in a tiny house full of large music - Mahalia Jackson and Marian Anderson singing majestically on the stereo, my German-American mother fingering 'The Lost Chord' on the piano as golden light sank through trees, my Palestinian father trilling in Arabic in the shower each dawn.

I listen to KCRW in the car and Pandora radio, which I stream through the stereo from my iPhone. I've been listening to everything from Caribou to Conway Twitty. If I'm going on a longer car ride, I'll download some podcasts.

When I received my first paycheck from my now known day job, I spent it on a period Craftsman chair and a Frank Lloyd Wright-wannabe lamp. With my second paycheck, I bought a stereo.

I wasn't one to go out and buy a new car and stereo system and expensive clothes. My mom helped keep me grounded.

We don't have a lot of neighbors so we can blast the stereo.

I never got a stereo system until about 1969. It was only when I went to America in '68 and listened to FM radio; I really thought, 'Wow, there's something in this.'

Here's something I probably shouldn't be saying: I never listen to my soundtrack albums because I can't stand it. It's just stereo. When I write, I write in surround. My life is in surround.