Meet Paul Pilsneniks

Updated: Nov 12, 2019

Paul Pilsneniks has been in Byron since 2000, but he’s done a lot of travelling production work over the last few years and is excited to have a place to call home in The Workshop.

He’s always felt a call to engineering, splicing cassettes as a kid, and recording on his four-track around the house.

Over the years he’s engineered acts like Angus and Julia Stone, Powderfinger, The Tea Party, Grinspoon, India.Arie, silverchair, Boy & Bear, Pete Murray, Eric Bibb and The Mars Volta.

His work has taken him all over Australia, as well as sessions in the UK, Japan, Indonesia and China.

Paul spent more than a decade engineering at Studios 301, where he produced and recorded a diverse range of musical genres from solo artists to full-size orchestras, working alongside some of the world’s finest engineers and producers.

He is a member of The Recording Academy and votes annually in the Grammys, also an occasional guest lecturer at various universities and audio colleges throughout the Asia-Pacific region.

Paul talks about The Workshop

“The Workshop encompasses all the gear Murray and I have accumulated over the years. We’ve just gone with a lot of mix ’n’ match flavours down here. We’ve got a couple of Neve preamps, APIs, MCIs, Focusrite gear, Joe Malone custom mic pres and a bunch of different mics. There are a couple of Urei 1178s and 1176s, dbx 160s, Neve 2254 reissue, and a big old tube AWA compressor. We’ve got some old school reverbs — like a Yamaha SPX990 and Evans spring reverb — and a couple of Urei filter sets. There’s enough to keep everyone happy and find a sound that will work.

“I love the acoustics and the way it feels, with the open doors, natural light and fireplace. It’s a homely feel with a professional setup. I’ve always been into the bigger control rooms for the workflow as well as the social aspect. We’ve got ties all throughout the studio, so if I want to overdub a guitar or bass, I can have the artist in the control room and still have tons of space to breathe.”

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When asked why artists should record at Rockinghorse he says;

“You’ve got a creative hub that’s so beautiful and inspiring, but you’re also close to the airport. If you need to get back to the big smoke, it’s easy enough to do so.”

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