Many of our readers will know you as one of the founding members of Kansas and the songwriter behind "Carry On My Wayward Son" and "Dust in the Wind", but you've worked on a diverse range of projects since that time. Give us a little background on your post-Kansas career.

I've been writing and recording almost constantly (took a bit of a break in the late 80's) since the Kansas days. First with A.D. (three albums), then several solo projects and another Kansas album (Somewhere to Elsewhere, 2000). I started my label, Numavox, in 1995. Proto-Kaw formed in 2004 and we are at work on our third CD. I have several projects in the works including my Cantata which I began composing in 1979 (don't ask when it will be finished)!

Tell us about your studio and a little bit about how you like to create music. Are you using a lot of software? How has your songwriting/composing process changed as technology has changed?

I built my first studio in 1982 with a budget I got from Sony (The Time Line album). I started with analog 24-track tape, just in time for the advent of digital. I was one of the first to use the dbx 700 digital system. Unfortunately it was swallowed up by the PCM standard and didn't endure. Too bad, it was a fantastic system. I slowly morphed into using a Mac and ADATs, then the EMU Darwin (another orphaned system), and finally into recording exclusively into the Mac G5 using Digital Performer and two slaved PC's running all sorts of software. I have a very elaborate MIDI network, and of course lots of plug-ins in the G5.

In addition to being a songwriter/composer, you take a very active part in the technical side of music making including sequencing, engineering and mastering. In your recent releases, how much of that work are you doing yourself?

Yes, the songwriting and the various stages of production have almost merged into one creative enterprise. In the past, I did most everything myself but of late I have found that it doesn't always yield the best results. I usually have someone else around for mastering now, because by the time I get to that stage another set of ears is very important.

Tell us about the creation of your new solo album, Collector's Sedition: Director's Cut.

It was released just before Thanksgiving 2007. It's a curious project actually. Originally released in 2000, it was a collection of demos I had done for Kansas. I later regretted releasing it because the demos, although elaborate, deserved a full production. It wasn't just a re-mix and re-master—the album has been almost entirely re-recorded while retaining most of the original vocals and some of the guitar tracks that I wanted to keep. Most of the sequenced stuff was replaced with live performers (from Proto-Kaw).

It was a challenge because the tracks were in several different formats, and there were sequencing and timing issues to deal with. I'm glad it was done though. It went from a regret to one I am proud of.

On the other side of the coin, you've also been working on an orchestral composition "Cantata: The Resurrection of Lazarus." It sounds like it's been in the making for quite a while. What can we expect from "Cantata," and what stage are you at with it?

It's a "never ending story." It began as a theme during the writing of the material for Kansas' Audiovisions album. I've been laboring over it ever since. It's a modern operatic/orchestral work—definitely the biggest thing I have ever attempted.

I really want to see it finished. I'd say I'm about 75% of the way through the process. The composing is pretty much finished. The task now is to get in listenable form.

You mentioned to us recently that you've been using Ozone on some of your current projects. What led you to start using Ozone and how has it affected your work?

I'm a bit of a creature of habit, especially when it comes to mastering—I usually just stick with what I know works. My friend Bill Evans suggested I try it. It was good news and bad news. The good news is that Ozone is fantastic. The bad news was that I had just finished mastering Collector's Sedition Director's Cut, and I had to do it all over again! It made that much difference.

You have an enormous back catalog of work. Can we expect anything from the vaults to be released soon? Have you tried iZotope RX on any of your old recordings?

I have boxes full of old Kansas and pre-Kansas recordings. I just got RX so I am excited to see what it can do.

In the video game "Guitar Hero II" players have to jam along to "Carry On My Wayward Son" to pass the second level. Is it flattering to have your music chosen as a playable part of a video game that features some of the greatest rock songs of all time? Have you tried to play it, and if so what did you think?

I was in a local restaurant a while back, washing my hands in the rest room. A kid, 8 or 9 years old, came up to the sink next to me. Just as he got there, "Wayward Son" started playing over the little speakers in the ceiling. The kid says "Awesome! That's one of my favorite songs from my game! Have you heard it mister?" I thought - if I tell that kid that I wrote that song and played the licks in his game, he'd think I was a lunatic. Moral: you never know who might be standing next to you.

I tried the game once. I was horrible.

For more information about Kerry and Collector's Sedition: Directors Cut, visit www.numavox.com.