When 90 volts course through discrete op-amp cards, custom transformers & meticulously crafted, Class A circuitry designed by the most trusted name in audio, the difference is immediately apparent.
The circuit topology of the 5088 is unprecedented. With custom transformers coupling every single input and output (including the inserts), the sweet musical performance and bulletproof isolation expected from a Rupert Neve design are assured: there is not a single compromised signal path in the entire console. For signal amplification and control, all new, high voltage, discrete op-amp cards have been developed specifically for the 5088 that eliminate crossover distortion while offering extended headroom, dynamic range, and frequency response.
The 5088 is a culmination of Mr. Rupert Neve’s vast analogue circuitry knowledge. As his first fully discrete mixing design in over 30 years, the 5088 incorporates and improves upon many of the same concepts, such as the single-sided, fully discrete amplification and complete transformer isolation that made his original designs so revered – except unlike many of those aging classics, maintenance is no longer a full time job.
To stay current in the recording business you must be able to continuously adapt your environment to the needs at hand. Because the 5088 is completely modular, channel strips and Portico processing modules like EQ, microphone preamplification and dynamics can be added or removed to meet constantly changing demands and eliminate the massive redundancies of consoles from yesteryear. If you don’t need it, your console doesn’t need it either.
Beyond its exceptional sound quality, the 5088 channel strip is designed to effectively handle multiple normalled sources, creating master, group and aux mixes with great efficiency. With 8 auxes, 8 “Groups”, “Solo”, “Mute”, “Send Follows Pan”, “Aux to Group”, a transformer coupled direct out and optional motorized fader automation on each channel, even the most complex mixes are within reach.
In lieu of mono input channels with selectable Line 1 / Line 2 Inputs, Stereo Input Channels can be fitted to increase the channel count without having to add an expansion chassis. The Stereo Module has all of the group sends, six auxes, stereo width control, and individual trims and pans for each channel.
With 4 pairs of FX returns and aux master controls, alongside high-quality 100mm faders, direct outs and transformer-coupled inserts for each of the 8 mix groups, the group master section provides the medium to control 4 stereo stem mixes while tying together an entire array of channel strips. If necessary, the insert returns and stereo FX returns can be used as an additional 16 inputs for summing.
The monitor master section has 6 source selections, 3 transformer-coupled speaker outputs, talkback, oscillator controls, 2 VU meters, stereo inserts, stereo level and control room master level. As with the the channel and group modules, anodized aluminum knobs provide the solid feel and response needed for precise adjustments.
Built around state-of-the-art motorized faders and DAW control over ethernet, SwiftMix combines the accuracy and convenience of digital automation with the unrivaled analogue sound of the Rupert Neve Designs 5088 Console.
Pure, flexible, elegant, and powerful, the 5088 represents a significant advance in the performance and philosophy of audio processing.
Nine years later I am still in awe of this console. It makes mixing easier, and beats mixing in the box by a mile. Having a “name brand” and high quality analog board has helped me get work, cemented my reputation as a mixer, and probably changed the course of my career. I still think it is the best analog console currently made.
The 5088 is an expandable 16-channel line mixer that provides 8 group busses, 8 auxiliary sends, 4 stereo effects returns and a stereo output buss. That basic functionality of input and output routing, meters and faders provides a solid foundation on which you can build an analogue console to satisfy your own particular requirements, adding, for example, microphone preamplifiers, equalization and dynamics processing from the Portico line of modules – or even more input channels – to suit your facility’s needs.
The all-new, fully discrete analogue architecture in the 5088 represents a culmination of Rupert’s vast analogue circuitry knowledge. Custom, high voltage and discrete op-amp cards have been designed especially for the 5088 that eliminate crossover distortion entirely. The new op amp cards offer extended headroom, dynamic range, and frequency response while generating exceptionally low noise and distortion.
“The real power of the 5088 lies hidden within the discrete, single-sided circuit topology and transformer-coupled inputs and outputs that produce 10dB greater dynamic range than any of my previous designs. The dynamic range is actually extended downwards to encompass the extremely small, often out-of-band signals – usually ignored – that go to complete our listening perspective, making sounds warmer, sweeter and fuller, apparently affecting the low and mid frequencies.
The significance of this enormous dynamic range and the frequency response that extends comfortably towards 100kHz lies in the ability of the 5088 to source, retain and mix the microscopically tiny signals that are essential to retention and enhancement of the full soundscape.”
As a staunch advocate of transformer-based designs, Rupert has included custom-designed transformers on every single input and output of the 5088, electrically isolating the console with a true floating ground while also imparting the sweet sound quality of his classic, sought-after designs.
“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.
The value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.
Of course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”
“Transformers are the reason why my original Consoles are still re-used, re-cycled and re-configured so successfully. From the earliest days all my designs, both inputs and outputs, were transformer-coupled. An audio transformer cannot be entirely successful without including the electronic circuit in the design because it works as an integrated package.
The value of a transformer, correctly used, lies in the total galvanic isolation it provides, giving freedom from ground loops and RF interference. Even microscopic levels of interfering signals cause loss of musicality and introduce unpredictable harshness and loss of definition.
Of course, transformers that are not correctly configured for a particular application can introduce astonishing results! Audio transformer design is almost as much an art as a science…which may be why many circuit designers avoid them.”
The modular channel architecture of the 5088 means dependability, expandability, and flexibility. The system’s modularity ensures easy maintenance and repair. It also allows custom configurations to be created with a larger input channel count, as well as the addition of Portico signal processing modules.
As your studio grows, your 5088 can also grow with the addition of more input channels. If the focus of your work changes over time or your audio systems evolve, you can adapt to meet the new challenges by reconfiguring the console accordingly.
The 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for functionality that you will never use. Instead of adding bells and whistles, Rupert and his team have focused on designing the most efficient, direct, and sweetest-sounding audio paths through a console that integrates seamlessly with any outboard gear in the world.
The 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8 Channel Frame.
As of 2014, the 5088 is available in standard (light blue) and Shelford (dark grey blue) finishes.
To increase the number of input channels, it is possible to add 5088-16 channel expansion chassis to the standard configuration. These additional chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on what is required. Internal, group, solo, aux and master busses are linked through ribbon cables.
To increase the feature set in each channel strip a penthouse frame may be adjoined to a 5088 regardless of the number of input channels.
The standard 16-channel master section penthouse has 25 slots for vertically configured Portico modules. Depending on a studio’s needs, any combination of Mic Pre/EQs, Mic Pre/Compressors, Five Band EQs, Stereo Compressors, True Tape FX, and other modules can be added to the penthouse. For example, a studio doing exclusively mix work could configure a penthouse with 5-Band EQs on each input channel and then have a mixture of stereo compressors, Tape FX and more in the remaining slots. This approach allows you to avoid the large costs and redundancies found in the consoles of yesteryear.
A studio that needs mic pre/compression/EQ on every input channel could integrate apenthouse with mic pre/eqs and dual mono / stereo compressors above the monitor/ group section, whereas a studio that has an existing large collection of high quality outboard equipment and doesn’t need the additional functionality can forgo the additional modules and penthouses entirely in favor of a line-only desk.
As an option, any 5088 configuration may be outfitted with a VU meterbridge at an additional cost. The meterbridge features finely calibrated and extremely precise meters for all input and group channels. The meter bridge can be secured to either the top of a standard 5088 frame or the top of a penthouse rack.
Rupert Neve Designs’ own SwiftMix™ can be included in any 5088 configuration to add moving fader automation and DAW control functionality.
“Nine years later I am still in awe of this console. It makes mixing easier, and beats mixing in the box by a mile. Having a “name brand” and high quality analog board has helped me get work, cemented my reputation as a mixer, and probably changed the course of my career. I still think it is the best analog console currently made.”
“The first thing I noticed was that I could throw the faders up and hear everything right away; I didn’t even have to spend time getting the mix together. The amount of murk that disappeared with the 5088 was remarkable. Everybody noticed it immediately.”
“The best performing Neve ever…quite an extraordinary beast.”
“The board is wonderful. It’s modern sounding and yet looks back to the vintage past without any of the flaws that the vintage consoles had…soncially, It was immediately an eye opener. We just moved two cables over to the center section of the 5088 and monitored Pro Tools and, with a number of people that I trust in the room, everybody’s jaws dropped.”
“”We are so happy – the sound is gorgeous.” ”
“The RND 5088 is distinguished by its neutrality and high headroom, both of which are critical in our jazz and classical applications..We selected the RND after carefully auditioning desks in Los Angeles; the great sound and solid feel of the console was critical in our decision.”
“I used to have to work so hard to get a mix to sound half as good as it does with me just putting it through the 5088 without doing a thing to it… I can really hit the 5088’s mix bus – it takes it, and it likes it! What this all means for me in practical terms is that I can now focus more energy on being creative.””
“”We debated going down the road of ‘old Neve’, but we needed something that we knew we could rely on. The concept of recording live…I need switches to work silently, I need pots to work without making noise.” Also? “It sounds great.””
“It does the job nicely. As soon as I run my mixes through it, it’s quite a big hit. Most of the time they hear it as making everything sound more musical.”
“The sound is unlike anything I’ve ever heard… ”
“I was really considering two other consoles, but they sent me a couple [Shelford] modules to listen to, and the comparison wasn’t even fair – the Shelford modules had so much tone and depth, and the Silk feature is just amazing.I haven’t used a tube preamp since last February. I pretty much retired all my tube preamps, and I had quite a collection.”
“I’m a fan of hitting gear hard, I like drive and saturation, rounding off peaks and finding sweet spots. I can’t believe how much this desk can take, level-wise. I can have all the VUs pinned and it sounds effortless, it holds together and still sounds open and clear. It’s solid as a rock. My mixes are now bigger and louder than before but also more open sounding, more ‘alive’, the summing is just better.”
“ With the 5088 being literally maintenance-free, we can spend our extra time improving other aspects of our operation. Our 5088 with the Shelford modules makes it extremely fast to get good sounds on tracking sessions and fits our control room and general vibe better….the texture-function is fantastic, but really the main thing is that you can forget technical details and focus on the music. And it both sounds and looks stunning! ”
“ The studio contains all top-quality equipment in a professionally appointed, acoustically balanced space, and reflects the current trends in pragmatic and economically feasible studio design. The 5088 fits in perfectly with that aesthetic.”
“the sound is perfect! This is what I was looking for.”
“We have an amazing collection of microphones, and when I run the microphones into the Neve it completely opens them up – it makes the microphones sound the way they should.”
“The 5088 has an insane amount of headroom for summing. Even with complex, layered and heavily compressed music maxing out the stereo bus, it retains its openness. Also, the EQ’s of the 5052’s are amazing”
“The Class A circuit design allows for excellent sound quality even in the quietest movements. Even though the board is extremely transparent, the ability to add harmonic distortion via the ‘Silk’ button provides us with an opportunity to add color and character to our recordings.”
“The headroom on this console is unmatched…the 90V power rails make it near impossible to overdrive. The best part is that if you do manage to push it hard enough, the overdrive is very nice and musical.”
513 Analog Recording | Tempe, AZ, USA
Adam Audio | Toronto, Canada
Alan Parsons | Santa Barbara, CA, USA
Alice’ Restaurant | New York, NY, USA
Angus Maclean | Calgary, Alberta, Canada
Anton Johnson
Apex Audio | Belgium
Brett Orrison, The Austin Recording Service | Austin, TX, USA
Anton Johnson
AV Plus | Dubai
Babajim Istanbul Studios | Turkey
Bibio | UK
Big One Music
Blue Man Group, LoHo Studio | New York, NY, USA
Big Blue Meenie | Hoboken, NJ, USA
Big Blue North | Utica, NY, USA
Bob Mithoff | LA, CA
Bolo Digital | Denton, TX, USA
Blue Rock Studios | Wimberley, TX, USA
Chris Lopez
Circle House Studios | Miami, FL, USA
Coast Recorders | San Francisco, CA, USA
Coldwater Studios | Los Angeles, CA, USA
University of Colorado | Denver, CO, USA
Colour Haze Studio | Germany
Concordia University Irvine | Irvine, CA, USA
Counterpoint Studios | Salt Lake City, UT, USA
DarkSky Media | Melbourne, Australia
deadmau5 | Ontario, Canada
Dick & Rogers | Vancouver, Canada
Doctor Wu’s | Brooklyn, NY, USA
Drexel University | Philadelphia, PA, USA
Dweezil Zappa / Utility Muffin Research Kitchen | Los Angeles, CA, USA
Esplanade Studios | New Orleans, LA, USA
Full Sail University | Winter Park, FL, USA
Gaira Musica Local Estudios | Bogota, Colombia
Geejam Studios | Port Antonio, Jamaica
Gorbals Sound | Glasgow, Scotland
Gravity Studios
University of Hawaii | Honolulu, HI, USA
Hear Studios | Camden, ME, USA
Heavenly Sound | China
Honeytone Studio
University of Iowa | Iowa City, Iowa, USA
ISPA
Jackpot Studios | Portland, OR, USA
Jaap Hamburger | Vancouver, BC, Canada
Jeremy Jones | Seattle, WA, USA
Jimmy Buffett | USA
Kuhl Musik | Toronto, Canada
Lola Music Studios | Los Angeles, California
Malabar Music | Oslo, Norway
Monenschpfeffer | Bochum, Germany
MOXE | Nashville, TN, USA
Munchin Music | Germany
Musicians Institute | Los Angeles, CA, USA
Narwhal Music Studios | Chicago, IL, USA
NK Sound Tokyo | Tokyo, Japan
NYU Clive Davis Institute | New York, NY, USA
NNK Studio | Moscow, Russia
No Shame Labs | New York, NY, USA
Oberlin College & Conservatory | Oberlin, OH, USA
Ocean Sound Recordings | Giske, Norway
Ohio University | Athens, OH, USA
Paul Dinletir
Peter Buffett
Peter Kruder | Austria
Polosud Records | Napoli, Italy
Primo Music, Mario Quintero | San Diego, CA, USA
Pro Audio LA | Los Angeles, CA, USA – LOS ANGELES SHOWROOM
RCA Studio B | Nashville, TN, USA
Retrophonics Recording Studios | St. Augustine, FL, USA
Rob Fusari | New York, NY, USA
Roselane Studios | Santa Barbara, CA, USA
Roulette | Brooklyn, NY, USA
Royal Danish Academy of Music | Copenhagen, Denmark
Sandlane Recording Facilities | Rijen, NL
San Francisco Conservatory of Music | San Francisco, CA, USA
Santa Barbara Sound Design | Santa Barbara, CA, USA
Scott Dargan | Washington DC, USA
Sean Foote
Shanghai Conservatory of Music | Shanghai, China
Sherpa Studios | St. Louis, MO, USA
Sono Records | Czech Republic
Sound Spa Productions | New Jersey, USA
Spaceflight Records | Austin, TX, USA
Stonebridge Studios | Leesburg, VA, USA
Studio 2010 | Tokyo, Japan
Stuart Martin Audio | Leesburg, VA USA
Studio White Noise | Orlando, FL, USA
Sydney Tan | Singapore
Tenda da Reposa | Rio de Janeiro, Brazil
Third Man Records | Nashville, TN, USA
The Vault Recording Lounge | Marietta, GA, USA
VDS | Kyiv, Ukraine
Usher (home studio) | Atlanta, GA, USA
Willie Nelson’s Pedernales | Austin, TX, USA
Woody Tone Studios | Vienna, Austria
Yellow Box Studios | Singapore
Let us know if you would like to be added.
The 5088 is available with channel counts in multiples of 16 (i.e. 16, 32, 48, and beyond) as well as in a special 8 Channel Frame
Channel Strip Modules (16+ total):
2 x XLR-F, 1 x XLR-M, 1 x TRS
Group Channel Modules (4 total):
3 x TRS, 2 x XLR-M
Master Monitor (1 Total):
6 x XLR-F, 9 x XLR M, 5 x TRS
8 Channel Master
Width: 76 cm
Depth: 74.4 cm
Height: 27.2 cm
8 Channel Master with Penthouse and Meterbridge
Width: 76 cm, 29.9 inches
Depth: 105 cm, 41.33 inches
Height: 58.2 cm, 22.9 inches
16 Channel Master
Width: 116.8 cm, 45.9 inches
Depth: 74.4 cm, 29.3 inches
Height: 27.2 cm, 10.7 inches
weight: 235 lbs, 106.5 KG
16 Channel Master with Penthouse and Meterbridge
Width: 116.8 cm, 45.9 inches
Depth: 105 cm, 41.33 inches
Height: 58.2 cm, 22.9 inches
weight (loaded): 485 lbs, 219 KG (approx.)
16 Channel Expansion Sections (multiple may be added)
Width: 73 cm, 28.7 inches
Depth: 74.4 cm, 29.3 inches
Height: 27.2 cm, 10.7 inches
16 Channel Expansion Sections with Penthouse and Meterbridge (multiple may be added)
Width: 73 cm, 28.7 inches
Depth: 105 cm, 41.33 inches
Height: 58.2 cm, 22.9 inches
32 Channel with Penthouse and Meterbridge
Width: 189.8 cm, 74.7 inches
Depth: 105 cm, 41.33 inches
Height: 58.2 cm, 22.9 inches
weight (loaded): 785 lbs, 356 KG (approx.)
48 Channel with Penthouse and Meterbridge
Width: 262.8 cm, 103.5 inches
Depth: 105 cm, 41.33 inches
Height: 58.2 cm, 22.9 inches
weight (loaded): 1085 lbs, 492 KG (approx.)Power Consumption16 channel master: 825 watts
16 Channel Expander: 575 watts
Portico Modules: about 10 watts each