Witkowski has a varied and colourful 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. Recent credits include international film score credits for ‘Swung’, ‘Vamps’ and ‘Closer to the Moon’, and recent orchestral/classic music credits for Elliot Goldenthal’s ‘Othello Symphony’, Krzysztof Penderecki and Johny Greenwood’s ‘SACD’ album, and Ben Frost’s ‘Solaris’.
Beginning his career as an intern at Chicago Recording Company whilst studying for his Bachelor Degree of Art in Sound from Columbia College (Chicago), Peter recalls,
“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’.”
“We were still tracking on 2” tape recorders, so learning about Neve Automation and using the AudioFile Spectra was a great advantage for me, during which time the first DAW workstations became available.”
After completing his degree, Peter returned to his native Poland to further his career and his relationship with Neve consoles developed further. “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 states.
For Peter, this cemented a career-long relationship with AMS Neve and a few years later, when Peter was working on the Alvernia Studios Motion Picture Facility project, he 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. Peter spent 10 years at Alvernia before embarking on personal projects and starting EXIT productions.
When looking at console options for his new studio, Peter took inspiration from his favourite preamps – the Neve 1073® and 1081. He explains, “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,” explains Peter. This led him to the Neve Genesys Black. “I loved that I could still get the classic ‘Neve Sound’ as well as the integration with DAW software. In addition to that, the features of the consoles master and monitoring section is very close in design to the 88R console, which I’m extremely familiar with, and it’s capable of driving two stereo and two 5.1 monitor systems. The main stereo mix bus and groups have a mix-return blend control, to allow parallel processing, which I use often.”
Working on a multitude of projects means that moving from mix to mix seamlessly was a key factor in Peter’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 explains.
“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.”
For more information about EXIT studios, please visit www.exitproductions.pl
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