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REGULARS we were so reliant on studio services from the house. We’re now developing a number of major record labels. In 2006 I think we did 130 Australian acts and in the process of changing different tracks. The same year we had our from being a service to the rest of the industry, second kid, so it was hard work as a two-person into a self-sufficient entity that creates and If you don’t strive for show. Victoria was actually editing vocals about markets its own products. We’ve still got that perfection“ in pop 48 hours after giving birth – it was the only way core business of ‘studios for hire’, the problem is we could get everything done! the public seems to think it’s out of their reach music – with the and too expensive. But putting together tracks The business kicked off in about ’97 when I got drums as accurate as isn’t an expensive proposition these days. We still some cuts on Vanessa Amorosi’s record, which make records for the major labels as well, but possible – it instantly ended up expanding into other things. It was that industry has just shrunk so much. one of those situations where I worked for Mark starts to sound a bit (Holden) and Vanessa for about a year and a MP3-FALL ‘indie’. half on spec. I just had to keep persisting until I BW: What’s your slant on the decline of record finally ended up with four tracks on her album, sales? which led to publishing deals and opened up PW: I think it’s a combination of factors. The doors elsewhere. figures tend to suggest people are moving away ” We’re quite focussed on pop music, simply from albums and focusing on singles. Obviously because it’s what we’re into nowadays, the mp3 file is largely responsible. We’re really but Victoria and I both come from a rock in the midst of a huge change and we’re not background – we just got stuck in pop music really going to see the outcome for a few years. land. That’s not to say don’t branch into other Nobody really knows what will develop. genres; our stable of acts is actually quite diverse. VW: This is why we’ve really stepped this HOME BW: So what came first, the writing partnership facility up a few gears. Because of the changing Paul likes his compressors and keeps a few lying or the marriage and kids? market, we’ve shifted the focus to our own about the place. The artists. mighty Yamaha NS10 PW: Victoria was in a band called Culture monitors (below) are only Shock years ago. We started dating in 2000 but PW: Yeah, we have a number of avenues there because Paul “can’t GROWN stand anyone enjoying didn’t really start working together on projects what they’re listening to!” until 2003. Not all pop production is done In a back street of South Melbourne, Paul Wiltshire: Victoria and I actually Victoria Wu: Yeah, I was writing as an artist amongst car repairers and the South spent quite a long time in Los Angeles. We primarily and met Paul when I was looking for in the box. In the case of this Melbourne market, I’m wondering if my GPS had studios set up there and were certainly production assistance. That project kind of fell dynamic duo from Melbourne, unit has sent me on a wild goose-chase. I’m attempting to expand into L.A. We used to in a heap and we ended up… looking for the offices of PLW; an acclaimed travel back and forth; two months in L.A. PW: Pashing! lots of boxes are preferable. ‘pop factory’ with a string of Australian (and and two months in Australia, maintaining our VW: Well, not on the first date but yeah, we did Text: Brad Watts international) hits behind it. But all I can find production work here while starting up new are smash repairers and fruit and veg. I’ve jobs over there. We eventually managed to get end up pashing. After that though, Paul asked received a tip-off that PLW has just installed an tracks placed with the Backstreet Boys, and me to write songs for a couple of groups and SSL AWS900 console – a desk I would love to this led to a much greater understanding of those songs got placed. We actually got quite a own myself – such are the trappings of pop production on a worldwide scale. It was few placed that year. platinum-selling single production teams. I find all really great until we started to have babies PW: Yeah, we did have a lucky run that first the address in plenty of time and step into the [laughs]. Our experience eventually led us to year. Sony/BMG picked up the first songs ‘factory’. putting together this place a couple of years ago, we wrote together for an act called Mercury PLW is the baby of Paul Wiltshire, a man with which combines four studios – they’re nicely 4 – who didn’t go anywhere. But the next song production and writing credits for the likes decked out, with the main room now including we wrote was used for Rob Mills which did get of Vanessa Amorosi, Delta Goodrem, Marcia the SSL AWS900. airplay, then Shannon Noll and a few others. Hines and the Backstreet Boys. He’s worked BW: And how is the SSL coming along? At the time I was still going back and forth alongside the uber-successful Matrix production to America trying to get a studio and career PW: It’s fantastic! The automation makes things team – responsible for tracks and albums from happening there. It was endless travelling, but really simple. I really love working with it. U.S. acts such as Avril Lavigne, Britney Spears, then we wrote a song that we pitched for Guy Christina Aguilera and Korn. BW: That’s obviously the most recent addition, Sebastian. Unfortunately Guy didn’t go for it so what else drives the ship? I notice you’re but my management then placed it with the Like many, Paul initially set up PLW in his Logic people here as well. Backstreet Boys. It was like beginner’s luck lounge room. Nowadays, unlike most, after even though we worked hard to get it accepted PW: Well, most of the rooms are ProTools but stints in Los Angeles working with some of – three long months of chopping and changing I’m definitely a Logic man. Victoria is a Logic the world’s best, there are a number of framed/ the one track. Once we got the cut we figured user as well. We run that with the ProTools gold records on the walls of PLW’s converted the rest would be easy. But what followed was inner city factory. Along the way Paul hooked hardware so we’ve got 24 ins and outs from PLW boss, Paul Wiltshire, a period of writing song after song after song, ’Tools going straight into the SSL. It’s a simple set up his studio after up with his future wife, Victoria Wu. The pair pitching them at the highest level to the likes of successful production stints has since gone on to produce and write hits for patching system – the outboard is just inserted in The United States. Britney and Hillary Duff. But of course there when required. The only thing that’s done Human Nature, Marcia Hines, Anthony Callea, are ten thousand other producers in the same differently is I always keep a Distressor and the Shannon Noll, Guy Sebastian and many others. town going for those same acts. Following that Avalon preamps set aside for vocals. They’re the we were struggling to get another cut; it was STRADDLING THE PACIFIC most crucial part of any pop production and I really tough. Brad Watts: In a short 10 years Paul, you’ve always have these units strapped across them. certainly made an indelible mark on the At the same time the industry was shrinking, Our second room has a 1987 Amek console. As I Australian charts. What brought you back so we decided to come back to Australia and set said, we set this up a couple of years ago because to Australia rather than persisting with the this up – essentially a self-sufficient production American market? AT 56 AT 57 I remember a mix I was“ working on in L.A. Recording Studio on an 80-channel K-series SSL, and I The most versatile portable recording device, ever think it took me about Outstanding performance in their field 16 hours to fuck the mix completely! recording interviews, podcasts, meetings, live musical ” performances, classes & seminars happening at once. We’re in close contact replacement work, Victoria does all the vocal but the reason for three is that I’m a big fan with the touring companies, we have our own editing and I’ll take care of production. I try of it on bass, and a big fan of it on vocals. The monthly club night called PLW Live. That’s and keep as far away as possible from editing reason I’ve got four at home is I like to keep been running for about 12 months in Melbourne if I can and just concentrate on the big picture three available for vocals. I’ll generally run BVs and we’re just about to kick it off in Sydney.

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