the
5088
HIGH VOLTAGE & DISCRETE MIXER
The 5088 is the culmination of Rupert Neve’s vast analog circuitry knowledge, and the only console built today with the same dedication to sound quality found in his most legendary vintage designs.
As his final word in fully discrete mixing design, the 5088 incorporates and improves upon many of the same analog concepts that made his original 80 series consoles so revered: single-sided, fully discrete amplification, bespoke audio transformers on every single input and output, bulletproof build quality, and unparalleled headroom and dynamic range. If you value sound quality above all else, the 5088 is the only choice.
“I still think it is the best analog console currently made.”
& TAPE OP MAGAZINE FOUNDER
Made to order, designed to adapt.
In an era of ubiquitous DAWs, plugins and digital consoles, many engineers report that this “state of the art” equipment – which touts impressive-looking specifications and “enhanced” workflow – has removed the rich, expressive quality found in their older recordings, and often requires significantly more time & effort to make a mix gel. Additionally, it is always disappointing when an expensive digital tool becomes obsolete far too quickly. The 5088 is philosophically opposed to this one-size-fits-all approach.
Each console is built to spec for each engineer, and can evolve as the needs in the studio shift with new technologies. Aside from its audible prowess and reliability, much of the 5088’s staying power is due to this adaptability. Because the 5088 is completely modular, channel strips and processing modules like EQ, microphone preamplification and dynamics can be added or removed to meet changing demands, eliminating the massive redundancies inherent in nearly every other console.
The 5088 can easily be configured with everything you need – and nothing you don’t.
Completely modular, expandable design
The 5088 is a fundamentally different console philosophy, very carefully thought-out so that you don’t have to waste money paying for unnecessary functionality. Instead of adding bells and whistles, Rupert and his team focused on designing the most efficient, direct, and sweetest-sounding analog audio paths through a console that integrates seamlessly with any outboard gear in the world.
Custom high voltage, discrete op-amp cards
The all-new, fully discrete analog architecture in the 5088 represents a culmination of Rupert’s vast analog circuitry knowledge. Custom high voltage and discrete op-amp cards have been designed specifically for the 5088 that eliminate crossover distortion entirely; provide extended headroom, dynamic range, and frequency response; and offer exceptionally low noise and distortion.
Bespoke transformers on all inputs & outputs
Rupert Neve was always a staunch advocate of transformer-based designs, and custom-built transformers are implemented on every single input and output of the 5088. These electrically isolate the console with a true floating ground while also imparting the sweet sound quality of Rupert’s most sought-after classic designs.
“It’s top tier...this thing will never go out of style.”
A NOTE FROM RUPERT NEVE:
“
The significance of this enormous dynamic range and the frequency response that extends comfortably beyond 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.
The first time I actually heard music played through a 5088, I just…relaxed. A wave of satisfaction swept over me – I didn't have to measure, I just listened and thought, ‘Boy, I think we've actually achieved it.’ There is something about the 5088 which I have not been able to get from any other piece of equipment.”
CONFIGURATIONS
Need 16 inputs and no mic preamps?
Done.
How about 8 mono + 8 stereo inputs, with 8 preamps for tracking?
No problem.
A fully-loaded 48-input desk with preamps and EQs on every channel, and compressors on every group?
You can do that too.
At its core, 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 the foundation upon which you can build a console to satisfy your own particular requirements; adding microphone preamplifiers, equalization and dynamics processing – or even more input channels – to suit your facility’s needs.
And as your studio grows, your 5088 can grow with it. Add stereo input modules, automation, more mic preamps or processing, a producer panel or other custom metalwork…the sky’s the limit.
No matter the size or configuration of your 5088, you’re getting the best-sounding analog mixer on the planet. Bar none.
Learn more about each customizable section of the 5088 below.
The 5088 is available with channel counts in multiples of 16 (e.g. 16, 32, 48, and beyond) as well as in a smaller 8 channel frame.
The additional 16 channel expander chassis share the same form factor and lock into the sides of the master 5088 frame. Multiple expansion chassis may be added depending on the required channel count. Internal, group, solo, aux and master busses are linked through ribbon cables.
8 CHANNEL FRAME
The 8 Channel 5088 was developed for those needing the absolute highest analog quality available for remote or small ensemble recording such as classical or live jazz and acoustic performances. This option provides for 8 channel modules (Mono or Stereo), 4 Buss Outputs, 4 Auxillary Sends and 2 Stereo FX Returns, and a master section. The penthouse for an 8 channel frame has 16 total slots. Some clients may wish to install 5059 Satellite or 5057 Orbit summing mixers in the penthouse for increased mixing functionality in a small footprint.
Note: though 16 channel expansions may be added to the 8 channel frame, this configuration permanently limits the amount of groups and auxes to 4, and reduces the FX returns to 2.
16 Channel Frame: Master Section
CONNECTIONS
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
*The totals shown above refer to standard 5088 configurations (i.e. 16ch, 32ch, 48ch, etc). The 8-channel 5088 includes only 2 Group Channel Modules and 8 Channel Strip modules.
16 Channel Frame: Inputs 1-16
Expander Section: Inputs 17-32
8 Channel Frame: Master Section + Inputs 1-8
Mono Input Channels
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.
Stereo Input Channels
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, individual trims and pans for each channel, and a powerful stereo width control.
This is an ideal upgrade for smaller consoles that will often be handling stereo stems from the DAW.
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 large VU meters, stereo inserts, stereo level, and control room master level: the iconic big red knob. As with all the other modules, anodized aluminum knobs provide the solid feel and response required for precise adjustments.
To increase the feature set for each channel strip, a penthouse frame may be added to a 5088 regardless of the number of input channels.
The standard 16-channel master section penthouse has 25 slots for vertical modules: one above each channel, plus 9 above the group / master sections.
Depending on a studio’s needs, any combination of Shelford 5052 Mic Pre + Inductor EQ or 5051 Inductor EQ + Compressor modules can be added to the penthouse. For example, a studio exclusively doing mix work could configure a penthouse with only EQ/compressors and no mic preamps at all; or a small production room could short-load a console with preamps above the first 8 channels, and compressors above each of the groups. This approach allows you to avoid the large costs and redundancies found in nearly every other console.
And if your studio already has a large collection of high quality outboard equipment, you can forego the penthouse entirely in favor of a line-only desk.
The 5088 can be configured for everything you need, and nothing you don’t.
5052 Mic Pre / EQ
The Shelford 5052 echoes the simple and definitive 1073 feature set with a mic preamp, high pass filter, and 3-band inductor EQ, plus modern capabilities like the variable Silk / Texture control and simultaneous pre / post “tape” operation.
Utilizing class-A, discrete, +/-24V topologies with custom-wound transformers and inductors, Rupert Neve designed the 5052 as a channel strip that captures the soul of his classic designs – without the previous compromises.
5051 EQ / Compressor
The 5051 combines a three-band Inductor EQ based on Rupert’s vintage designs with the power & flexibility of the Portico II Compressor.
With a fully-discrete class-A signal path and custom audio transformers and inductors, the 5051 delivers all the performance and musicality expected from a Rupert Neve design.
16 inputs, no penthouse.
8 inputs, short-loaded penthouse.
32 inputs, penthouse with a mixture of modern and vintage modules and 19” rack units.
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, and can be secured either directly on top of a standard 5088 frame, or to the top of a penthouse rack.
Built around state-of-the-art motorized faders, advanced transport functionality 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.
A Worthy Compliment
Since its debut, the 5088 has redefined the possibilities of audio quality. Incorporating 90 volt power rails, discrete, class-A signal paths, and custom transformers, the 5088 is the pinnacle of Mr. Rupert Neve’s esteemed design lineage. With the introduction of SwiftMix, engineers can now enjoy the speed and recall abilities of their DAW with seamless integration in the 5088 frame.
Functionality in Hand
Each SwiftMix fader channel features five illuminating tact switches and a 100mm motorized fader. The switches control DAW channel selection, DAW solo, DAW mute, channel record enable and automation mode. The automation mode switch toggles the selection between off, read, touch, latch and write, which are individually indicated with LEDs on the fader panel. A carbon impregnated fader cap provides immediate touch responsiveness, and the 100mm motorized fader is extremely accurate to 1/5mm for writing, adjusting and following of automation commands.
MC5 Master Control
The MC5 Master Control module brings advanced transport, editing, and grouping functionality to the engineer’s fingertips. By providing seamless control from the mix position, MC5 allows for easy auditioning, decisive editing, and quick recall. The Master Control module is an optional addition to SwiftMix systems and requires at least one bank of 8 SwiftMix faders to operate.
Universally Compatible, Remarkable Performance
For maximum compatibility, SwiftMix communicates via a 9 bit HUI over ethernet protocol. SwiftMix’s implementation provides precise fader-mapped calibration, which allows the motorized analogue fader to match levels previously set in the DAW. This attention to detail is essential for flawlessly recalling mixes created in the box or at another location. System setup can be accomplished in moments by connecting a single ethernet cable to the DAW host computer and then adding SwiftMix as a HUI Controller in the DAW. No drivers are required for PC or Mac, and channels are automatically assigned and matched to channels in the DAW. SwiftMix is primarily optimized for use in AVID Protools and Apple Logic, but it will work with most DAWs supporting HUI control surfaces.
Featuring a VCA-less motorized fader design, DAW-based communication, and instant, precise control, with SwiftMix there is finally an automation system worthy of the 5088 Console. Systems are available both for new 5088s as well as retrofitting into existing 5088s.
Alongside the the options shown above, the 5088 can also be customized with the addition of producer desks, rack rails for 19” modules or 500 Series racks, space for computer monitors, patchbays, and more.
Our producer desks are the same width as our 16-channel expanders (73 cm / 28.7 inches).
Please contact us via the button below for more information and a custom quote.
Please contact us to configure & customize the right 5088 for you.
16 inputs, no penthouse.
24 inputs (8 mono + 8 stereo), short-loaded with 8 channels of mic pre / EQ.
16 inputs, fully-loaded penthouse.
32 inputs, fully-loaded penthouse.
48 inputs, fully-loaded penthouse.
5088 Stories
Alan Parsons
deadmau5
Green Day
Atomic Sound
Jordan Hamlin
Historic RCA Studio B
Sweetwater
Vintage King
Blue Man Group
Larry Crane
Willie Nelson’s Pedernales
Matador
Mark Plati
University of St. Francis
Narwhal Music Studios
MUBA
Harris Jayaraj
Hi-Five Studio
San Francisco Conservatory
Imogen Heap’s Hideaway Studio
Brett Orrison
Roulette
Joey Raia
Citizen Vinyl
Esplanade Studios
DAFT Studios
REVIEWS
“…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.”
Larry Crane, Jackpot! Recording Studios / Founder, Tape Op Magazine
“The detail and the warmth of the preamps complement our orchestral sessions with the Firdaus Orchestra, the desk has an amazing headroom, and the saturation you get when you hit the desk hard sounds really musical. It just sounds right on any possible source you can think of.”
A.R. Rahman
"It's...endgame. It's the thing you're trying to emulate with plugins, it's the thing you're working up to, and then you get it, and then that's it. You know, for me, it's top-tier…it brought back the romanticism in making music for me."
deadmau5
“Rupert, this console is beyond belief. It’s so wonderful, and it’s got your name literally written all over it – on every module, but it has your legacy written all over it as well. Thank you so much.”
Alan Parsons
“…the end result that’s coming out of this 5088, it just seems to really touch people. You see tears, and you see goosebumps, and people losing their voice. I think it’s just because what the band guys are doing translates really well through this. It’s an incredible difference; it’s been a thrill using this.”
Kevin Lemoine, FOH Engineer (Green Day)
“…from the first day I heard it, I thought ‘Holy sh*t, wow!’ Okay, this is worth the effort, and it is. It’s a lot of effort to move it around the world. The size of it, the footprint, it requires eight guys to tip the console, as it’s bigger than a piano. But it has just been exceptional, and it has been exceptionally reliable. We have carried a (digital) backup for it for four years and have never had to use it.”
Zito, Production Manager (Green Day)
“What you’re able to achieve in detail of your soundstage with the 5088, to me, is the best thing that’s ever been created in audio recording…I am now able to achieve what I have been aiming for my entire career, for the first time, more reliably and more beautifully than ever before.”
Brian Deck (Modest Mouse, Iron & Wine, Counting Crows)
“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.”
Blue Man Group
“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.”
Bibio
“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.”
Santa Barbara Sound Design
“Most people associate digital with convenience, but this analog workflow actually makes mixes come together much faster. The sheer musicality of the console makes our job much easier and more enjoyable, and the results more meaningful for the artists that we work with.”
Shawn Dealey, Sweetwater Studios
“We are so happy – the sound is gorgeous.”
Shanghai Symphony Orchestra
“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.”
Oberlin Conservatory
“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.”
Mark Plati (David Bowie, Prince, The Cure)
“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.”
Vance Powell (Jack White, Chris Stapleton)
“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.”
Esplanade Studios (Eric Clapton, David Crosby, Snarky Puppy)
“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!”
Ocean Sound (Travis, Arcade Fire)
“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.”
New York University
“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.”
Roulette
“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.”
Sandlane Recording Facilities
“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.”
San Francisco Conservatory of Music
SPECIFICATIONS & RESOURCES
Dimensions & Weights
8 Channel Console with Penthouse and Meterbridge
Width: 76 cm / 29.9 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 86.2 kg / 190 lbs
Weight (Loaded): 132.5 kg / 292 lbs
16 Channel Console with Penthouse and Meterbridge
Width: 116.8 cm / 46 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 89.8 kg / 198 lbs
Weight (Loaded): 169 kg / 374 lbs
16 Channel Expansion with Penthouse and Meterbridge
Width: 73 cm / 28.7 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 62.6 kg / 138 lbs
Weight (Loaded): 142.4 kg / 314 lbs
32 Channel Console with Penthouse and Meterbridge
Width: 189.8 cm / 74.7 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 152.4 kg / 336 lbs
Weight (Loaded): 301.2 kg / 664 lbs
48 Channel Console with Penthouse and Meterbridge
Width: 262.8 cm / 103.5 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 215 kg / 474 lbs
Weight (Loaded): 432.7 kg / 954 lbs
64 Channel Console with Penthouse and Meterbridge
Width: 408.8 cm / 161 in
Depth: 105 cm / 41.3 in
Height: 58.2 cm / 22.9 in
Weight (Unloaded): 277. kg / 612 lbs
Weight (Loaded): 564.3 kg / 1244 lbs
Power Consumption
16 Channel Master: 825 Watts
16 Channel Expander: 575 Watts
Penthouse Modules: approximately 10 Watts each
Audio Connections
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
*The totals shown above refer to standard 5088 configurations (i.e. 16ch, 32ch, 48ch, and beyond). The custom 8-channel 5088 includes only 2 Group Channel Modules and 8 Channel Strip modules.
Rear Panel Diagrams
16 Channel Frame: Master Section
16 Channel Frame: Inputs 1-16
Expander Section: Inputs 17-32
8 Channel Frame: Master Section + Inputs 1-8
RELATED PRODUCTS
5052 Mic Preamp + Inductor EQ
5051 Inductor EQ + Compressor