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Digital Subscriptions > MusicTech > Jul-18 > LUCKY CHARLIE


Charlie Andrew has won two MPGs for his production work with the likes of alt-J. He talks exclusively to MusicTech about his studio, recording in a cathedral and meeting a bloke down the pub who changed his life…


Charlie Andrew began his successful production career after being offered early alt-J demos by a man in a pub. It sounds like a dodgy, yet incredible story but that chance meeting eventually led him to produce the band’s first three albums, the second of which hit number one in the UK and the most recent, Relaxer, has now been nominated for a number of awards. Charlie talks exclusively to us about his amazing story that takes us from an early leaky studio in Shoreditch to his current set-up that might look chaotic, but is also a hugely creative environment for the many bands that come through the door…

MusicTech Tell us a little about how you got into music production…

Charlie Andrew “I was interested in it from school, really.

I was a bit of a nerd, very interested in science and I played a couple of instruments, saxophone and drums, so it dawned on me one day that it would be great to somehow combine the two. There was a basic studio there with Steinberg Cubase and an Akai S2000 sampler, so I just messed around and made some beats and stuff. When I left school I was very fortunate in that I wrote the right letter to the wrong person at Abbey Road. It arrived on the desk of the guy who was head of the technical department there. He didn’t receive many CVs and he saw it and it turned out they needed a runner that day, so I went to Abbey Road that afternoon!”

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About MusicTech

He’s the man who revolutionised modern film scores with a creative approach to music-making, sonic experimentation and sound utilisation that helps some of the biggest directors to tell their stories. This month we’re overwhelmingly honoured to speak to one of the greatest composers on the planet: Hans Zimmer. In our ten-page interview we talk to Hans about his recent work with Spitfire Audio – co-creating a remarkable assortment of production and studio tools – as well as his incredible career in soundtracking. Elsewhere this issue, Dave Gale takes us through the legacy of the vocoder, we report on this year’s Superbooth show in Berlin and speak to its progenitor Andreas Schneider about his views on modular synthesis and its integral place in the music technology world. We’ve also got our usual tutorials, tips and reviews. Enjoy the issue!