Andy Gray
Sound Alchemist - by Matt Skaggs

Access Spotlight recently had the opportunity to talk with producer, programmer and synth-wizard Andy Gray

Andy has producing, writing and programming credits on the chart-topping “Big Brother” theme, the larger-than-life soundtrack to the action-cyber crime thriller “Swordfish”, BT’s record “Movement in still life” and perhaps one of the most anticipated albums of this year – Paul Oakenfold’s “Bunkka” to name just a few.

Welcome Andy.

Access: When did you first get into making music?

Andy: when I was about 9 with a small drum kit but I loved the sound of synth’s on records so my mum and dad bort my monophonic synth around 81 I think and sh09 that when I started really (trying) to make music or copying all the great synth records anyway.

Access: What do you see your influences being? Is there one record or song that made you say “this is what I want to do”?

Andy: Are friends electric

Access: What was your first big break?

Andy: Derik B way back or maybe The Human League “Octapuss”

Access: I am sure a good cross section of our users would love us to jump in and start talking about your work with Paul Oakenfold, but your resume has some other very impressive highlights artist collaborations worthy of attention. Can you pick a few standout projects you have worked on that you really enjoyed or even found challenging?

Andy: Working with was great fun but also VERY challenging, when I first started working with Tori on Protools and recording vocal in to computers made Tori very uneasy with the ProTools way of working, but after we got to know how each other worked it became amazing, Tori is an amazing Piano player let along singer/songwriter! Tori would let me cut up her piano and put it throw some weird plug-in shit. I was a great experience.

Access: Along with producing and remixing – you have some amazing scores for picture on your resume. Do you find a different or interesting satisfaction for writing a score as opposed to producing an artist?

Andy: I think scoring movies is amazing and I must say at the moment its all I really what to do, its great working to picture and you have a lot of scope with sounds and style of music, its not about creating a single with will sell in UK or US world market it more about feeling and mood with a lot of room for very large sound design.

Access: Scores you have composed, “Riders” from Miramax for example, tend to include very modern, hip programming – have you found in your experience in the business, that movie-makers have to be sort of nudged into a more electronic score as opposed to a more traditional score, or are they more open to the ultra-modern sounds?

Andy: Well the Movie makers I am working with are looking for the mix of Score (strings etc..) and modern edge too, I am score a new movie at the moment TimeCopII for “Universal Pictures” is has large section of Score but were it feels right 100% Dance Breaks mainly, certain movies have a place for modern or Dance music it you get a lot of mood and energy out of a dance track. I more and more moviemakers are seeing this.

Access: When did you first meet Paul Oakenfold?

Andy: about 6 years ago, I did a Radio 1 essential mix with he heard one night and I had one of my Amoebaassassin track’s on there which he ended up signing and put out on Perfecto.

Access: What was the first project you worked on together?

Andy: a Dj mix Lp I think.

Access: You worked with Paul Oakenfold on the theme track for the television show “Big Brother”, did either of you have even the slightest idea how huge that track would be?

Andy: No we did that and then found out after there was another 50 + people having a go as well, which we was not happy about but it turn out good in the end.

Access: Paul Oakenfold’s new record “Bunkka” could easily be the pop culture all-star project of the year. Did you find it exciting to be working with people as diverse as Emiliana Torrini to Ice Cube?

Andy: Yes I had been working on this project on and off for 18 months it was a big job getting everyone together but Paul is very good at that.

Access: Personally – Along with “Nixon’s Spirit” (with Hunter S. Thompson), I cannot stop listening to “Motion” featuring Grant Lee Philips, is there a track on “Bunkka” that to you, drives the whole record?

Andy: Hmm am not sure if it Drives the whole Record but “Ready steady Go” has a great vibe and the Nelly/tricky track is great.

Access: Is there a track on “Bunkka” that we could listen to that features sounds from the Virus TDM?

Andy: every track I wrote has Virus on to But I guess you can hear a very Loud clear Virus sound on “Ready steady Go” long filtering main riff no other synth can come close!!

Access: How long have you been a Virus user?

Andy: Since the very first release of the Virus TDM when ever that was 2 year ..?

Access: Is there a certain role the Virus has taken on in your studio or productions? One specific thing you turn to the Virus for?

Andy: Wicked FAT basses and amazing Large filter-y lead riffs

Access: Do you see advantages to having synths like the Virus available directly in Protools?

Andy: yes total recall great automation NO A/D and D/A and no need for backing up you sounds they get saved in every session of in your plug-in setting folder..!

Access: What can we look forward to from you in the next year? Big plans you would like to share?

Andy: well I am doing 5 Gray Numan remixes (for a secret project) along with some of my all time heroes look out for that in Feb then some more films, I have also produced the new Fluke LP with Fluke with is a great sounding LP and written 3 song with Natasha Atlas, then is going to be more films starting with TimeCop2.

Andy Gray – Thank you for talking with us

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