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Gregg Gillis, a musician who performs under the name Girl Talk, creates a unique style of music using a laptop computer to chop up and reuse mainstream pop songs. His work, which is heavily influenced by mathematics, manages to pair divergent genres of music, mixing Madonna and Black Sabbath. His work has also questioned copyright law and fair use with respect to digital music. The following is an edited version of an interview with Mr. Gillis.

Nick Bilton: How did you start creating music using a computer?

Gregg Gillis: I actually went to school for biomedical engineering. While I was in college I played around with music on the side, mostly just for fun. When I graduated I just kept making music, playing small shows and art galleries, and after two or three years things just took off with the style I had created.

So were you living two lives, biomedical engineer by day and D.J. by night?

Yes. By the time my music took off it was two years into my engineering job. So for a year I had to live a double life. I would tell my co-workers I was going to go to the movies over the weekend, but from Friday night to Monday morning I was flying all around the country performing in clubs.

In those early days, when you showed up to a club with a laptop, did they not take you seriously?

Some people were open-minded, but in a lineup of bands about to perform and you’re the only person with a laptop, you’re definitely the sore thumb of the group. It was also the type of music I was mixing. It was definitely rebellious to have a laptop and mix pop music.

So are you a D.J. or musician, or even a computer musician?

I actually think of what I do more as creating electronic music, not being a D.J., because it is all created on my computer; it’s also very mathematical.

Where did the name Girl Talk come from?

When I first got started years ago other people who were performing using laptops had strange band names like “TR_x5,” and I didn’t want a strange computer name so I came up with Girl Talk. It sounded to me like a Disney music girl-group full of teenagers, not a man playing on a laptop.

You have a very unique and technical style. How did it develop?

It’s definitely evolved over the years. Over time I have become more comfortable just creating mashup styles of music. Some of my early influences were Squarepusher and Aphex Twin.

How do you create your music using a computer?

It’s a big trial-and-error process. I have a running list of songs that I want to sample and I spend a lot of time just cataloging and cutting up those songs. The organization has become a huge part of it. I’ll spend hours trying to piece a couple of components together, and when something kind of sticks I build it from there.

What kinds of programs do you use to make music?

I only use two programs. The first part of the process, the cutting up, is done with Adobe Audition. Then I piece things together using a program called Audiomulch, which I also use to perform live. I also perform using Panasonic Toughbooks, and when I’m on stage I wrap my computers in Saran Wrap.

Did you bring your biomedical engineering background to making music?

Yes, I think so. They are both very meticulous. I think a lot of times on an album I can sit there for hours to try and figure out one piece of music, which is the same with engineering.

You music is made up of other people’s music. Have you faced any copyright issues?

I put my music out there and hope for the best. It is clearly in a gray area but I believe it should fall into fair use under copyright law. I feel like people are not listening to my music instead of buying a CD or album of an artist I feature. Instead, people find new musicians because of a sample on one of my records.

Is this more acceptable in today’s digital world?

Yes. I think a lot of artists are used to their music being reused online and have come to accept and embrace it. You have a generation who go on YouTube and remake and remix music online all the time. They remake and upload songs and videos, and then other people remake the remakes; it just keeps going.

Have you ever been asked not to use someone’s music in your albums?

No, we actually get a lot of positive feedback. A lot of labels actually release a cappella versions for people to do remixes now. It really helps the sales and spread of their music.

Do you charge for the CDs?

My first three albums were released in a fairly traditional way where the CD cost $10. When we released the fourth album we said you can “pay what you want.” But this last album we didn’t even give people the option to pay, we just gave it away online and we completely skipped the physical CD. It really seemed like the most efficient way to reach a broad audience.

So how do you make money from your music?

I make the money from the tours and shows. In reality, I never anticipated this as a career. The fact that it came here like this has really become a surprise. I’ve found that the best way to make a career out of this industry is to get the music to as many people as possible.

Did it bother you when people illegally downloaded your first CDs?

Absolutely not. I loved it. It was really exciting. I actually used to go on Napster and LimeWire and check to see how many people where stealing the albums. It was very flattering.