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The New York Downtown Producer/Composer, Peter Gordon, Returns With His First New Album In 3 Years
“Eighteen“: the year of release, 2018. Eighteen: the age at which I first used a synthesizer.
In creating “Eighteen” I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.
My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a first-generation Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California – San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70’s and early 80’s. In the same way, recording studio technology became accessible in the 90’s. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of “Eighteen“.
Peter Gordon
Foom
Foom
The New York Downtown Producer/Composer, Peter Gordon, Returns With His First New Album In 3 Years
“Eighteen“: the year of release, 2018. Eighteen: the age at which I first used a synthesizer.
In creating “Eighteen” I worked independently in the studio, initially building up tracks with synthesizers and found sounds recorded in my daily comings and goings. After working with the tracks over a period of months,I shared them with a few musicians, who added their own instrumental layers. Though working independently, we all shared a similar working process: working in our personal recording spaces, as opposed to larger recording studios.
My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a first-generation Moog modular synthesizer sitting unused in the maintenance room. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California – San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the 70’s and early 80’s. In the same way, recording studio technology became accessible in the 90’s. . And thus the personal computer and digital audio allowed studio quality production in the home studio. Electronic music had become democratized.
Handmade music by way of digital technology: this is the music of “Eighteen“.
Peter Gordon
