Peter Witkowski picks Genesys Black for EXIT Productions
Building upon a long-term relationship with AMS Neve, the independent music engineer/mixer has added the console to his private production studio at home in Poland.
Independent music engineer/mixer and founder of EXIT Productions, Peter Witkowski, has added an AMS Neve Genesys Black G32 to the centre of his private production studio at home in Poland.
Witkowski has a varied and interesting career history, from working as head of sound department and studio project manager during the design and construction of many multi-studio audio & film facilities such as Toya Sound Studios and Alvernia Studios, to working in the US and Poland, mixing pop and rock music, as well as several orchestral scores for film.
Beginning his career as an intern at Chicago Recording Company whilst studying for his Bachelor Degree of Art in Sound from Columbia College (Chicago), Witkowski recalled, “I fell in love with Neve the first time I saw and touched the Neve VR in one of the control rooms in Chicago. I just loved the preamps, EQ, dynamics, their outboard gear… just the ‘Neve sound’.
“When I moved back to Poland, I built a three-studio facility, choosing the mighty 72-channel Neve 88R as the centerpiece of the main room, the first in Poland,” he added.
Additionally, a few years later when he was working on the Alvernia Studios Motion Picture Facility project, where he spent a decade before starting EXIT, Witkowski selected a 96-fader DFC console for its dubbing theatre, two MMC300 consoles for the post-production facility and an 88R for the scoring stage.
When looking at console options for his new studio, Witkowski took inspiration from his favourite preamps - the Neve 1073 and 1081.
“Mixing ‘in the box’ has become a norm in our times, but I always wanted to integrate traditional warm analogue processing into my digital workflow,” Witkowski explained. This led him to the Neve Genesys Black.
Working on a multitude of projects means that moving from mix to mix seamlessly was a key factor in Witkowski’s decision. “While mixing large multi-channel sessions, I use the desk as large summing mixer, but when mixing some classic or jazz projects with smaller count of the audio tracks, I fully use the Genesys Black analogue circuitry,” he concluded. “It is a seriously impressive piece of kit with great amount of functionality, but the most important aspect of the console for me is its warm, deep and rich sound that has made a huge impact on my mixes.”