On the one hand there were these exciting control techniques, computerized methods where you could — a computer could remember what you played, and you could play multiple tracks and play a whole orchestra by yourself, but the sounds that you had to work with were very thin at that time, 1982. When you selected piano, it didn’t sound like a piano, it sounded like an organ. When you selected violin, it sounded like an organ. Wouldn’t it be great if we could combine these very popular control methods with the beautiful, rich, complex sounds of acoustic instruments? I felt that — again, single-processing pattern recognition — these fields could solve those problems. Stevie Wonder agreed to be our musical advisor, and we started Kurzweil Music. Then in 1984, we had an instrument that when you selected piano, it really did sound like a piano. We were able to fool concert pianists as to whether they were listening to a piano or a Kurzweil 250. I’ve continued to collaborate with Stevie Wonder over these several decades on different technologies, both in the disabilities field and the music field, both areas where technology has played a strong role.