Songwriter/producer Wayne Wilkins certainly has an impeccable lineage for working on hit records. From studying classical piano at the Royal College of Music to programming for Spike Stent at Olympic Studios in London, he's amassed a credit list highlighted by the likes of Oasis, Pink, Beyonce's Beautiful Nightmare, Leona Lewis' Take A Bow, Michelle Williams' We Break The Dawn and T-Shirt, a single dropping soon by Shontelle Layne (Clear Channel Artist To Watch and a Universal/Motown priority). Wilkins' work is also showcased on Natasha Bedingfield's latest hit Pocket Full of Sunshine. We caught up with him on the road for a chat about his extensive use of Sonnox Oxford plug-ins.

So what's new with you?

Well, I've done the Natasha Bedingfield record that you guys know about and I was just up in Miami with my production team, The Runaways, working on Energy, a single by Keri Hilson one of Timbaland's new artists that just dropped.

And you used Oxford plug-ins on that?

Oh yes. We've made extensive use of them on the programming of that song. The main two that I've really found that work with the style of music that I do are the Dynamics and the Inflator. I've been using them on virtually every song that I've done, mainly on vocals and on the master bus.

How exactly do you use the Dynamics?

I put it on the master bus and when I'm doing stereo mixes out of Logic. I also use it as my final sound that goes to mastering. If I don't send it to mastering, I end up printing all my parts through it, because it gets all my parts sounding really great. Even if were going to Pro Tools and mixing on an SSL, we end up printing all the individual parts out of Logic with it. We truly use that sound on every record I do. If you listen to the tracks with and without them, it sounds a lot better with.

You used Oxford EQ and Inflator on Natasha's record too?

Yes, exactly the same way. I use the Inflator on the master bus, and to fatten up vocals that may have been recorded badly on a multi-track I receive from another source. The way that I work is that when we're writing our songs, I end up getting all the music together pretty fast. Using those Oxford plug-ins helps me get a great sound right away. It's a process, and we work fast to get the most exciting vibe.

Anything else you like about using Oxford Dynamics?

I use the Dynamics sometimes on the vocals. I like the 'analog' sound of it. Also, I add the 'Warmth' function to fatten up certain sounds, like on bass guitars and vocals. But sometimes I'll use that on the whole mix - again, just to fatten it up.

Do you mean the Warmth function or the Compressor?

Both, because I also like the way the compressor sounds. Before I used that, I actually struggled with using master mix compression. But when I started using the Sonnox Oxfords, it really seemed to make everything gel.

So you work with Oxford plug-ins in both Logic and Pro Tools?

At this point I use them mostly in Logic. If I'm recording vocals or flying somewhere, I always like to have a Pro Tools HD system. I also use Pro Tools when I separate out the tracks across an SSL, which have already been processed by the plug-ins.

Can you elaborate on how you use the compressor from the Dynamics plug in?

I'll put attack to the slowest time and the release to the fastest release time, so I'm getting a minimum effect from the compressor to start off. As for the ratio, sometimes I've used it at about 4:1, but generally 2:1. Also, I like having the makeup gain up a little bit so I can control my gain structure. That would be my general starting off point and I'll play with the attack and release times from there - because I like getting my mixes pumping a little bit. I play with those settings to get a compression effect happening. It just gives things a lot more energy.

How about the Warmth setting?

With the Warmth function, I will turn the Amount control so it's around 10 o'clock, or 30 percent. I generally don't use more than that, because it's just a subtle kind of analog sound that it adds that I like.

How do you set your Inflator?

That can vary. I probably have the Effect and Curve sliders just after halfway. I don't play around with any of the other controls really. I just put it up so I can gently hear what it's doing. I just love its sound, because it adds a richness to my mix. Or sometimes, I will use it directly on a vocal, especially when I get sent one that someone else has recorded. Sometimes, when it hasn't been recorded quite right, the Inflator can help add some warmth back into the sound. It's a very musical plug in - as they all are.

Interview and editorial provided by Rich Tozzoli