Croatia Soundworks and the 5088
Can you please tell us a bit about the studio? Where it is, when it opened, etc?
We are located in Split, Croatia, right on the Adriatic coast. The studio has been operating in this exact spot since 1986. This room is really where the modern music scene in Croatia started - almost every major artist in the region has tracked a milestone project here, bringing in hundreds of millions of streams over the decades. We’ve recorded everything from Mediterranean pop and rock to orchestral work, electronic music, hip-hop, and metal. We handle the whole process, from tracking to mastering.
Now, as we hit our 40-year anniversary, the massive new equipment upgrade and rebranding to Croatia Soundworks marks the start of a whole new chapter for us.
The studio was originally built by producer and composer Tomislav Mrduljaš, and we’ve updated the acoustics over the years with top consultants. For this new chapter, we worked directly with Tim from Rupert Neve Designs on the 5088 installation. He helped us configure the desk and figure out exactly what works best for our workflow.
What makes the studio unique?
It’s the combination of our 40-year history, the relaxed Mediterranean location, and gear that looks forward. We bridge decades of traditional recording experience with a high-end hybrid workflow. It’s why local artists and international heavyweights choose to come work here - you get an inspiring environment to create, backed by a world-class analog signal chain. Our studio has become a destination for international talent as well, hosting the best global engineers like Bainz - who recently stopped by to help us celebrate our 40th anniversary!
How did you first hear about Rupert Neve Designs, and the 5088? What made it the right choice for the studio?
When you've been running a studio for four decades, Rupert's gear is just a fact of life. We actually started working with his designs early on with the Amek 9098. Having that relationship with his classic sound for decades meant that when it came time for this 40-year upgrade, the 5088 was the only natural choice. We wanted a centerpiece with massive headroom, clean signal paths, and modern reliability. Nothing else out there delivers that weight quite like this desk.
What is your 5088’s configuration?
It’s a 16-channel frame customized to balance tracking and mixing. We have eight 5053 Mic Pre/EQ modules, alongside sixteen 5051 Inductor EQ/Compressor modules for tone-shaping and dynamics. Everything is tied into a custom patchbay, with a 5059 Satellite and a Master Bus Processor rounding out the master chain. Plus, in our second room, we run a 5060 Centerpiece, making Rupert Neve Designs the heart of our entire multi-studio workflow.
How does the console / its modules sound? What are your favorite things about it?
It sounds massive. You can push it hard and the mix just gets wider and tighter instead of breaking up. The new 5053 pre/EQs and the 5051 modules give us that classic Neve low-end weight, punchy compression, and a beautiful, open top end.
On Silk: are you Team Red or Team Blue? Why?
It depends on the track, but we lean towards Team Red most of the time. That said, Team Blue is our weapon for locking down the low-end on bass, heavy guitars, and kick drums.
What does the name ‘Rupert Neve’ mean to you?
It means zero compromises and pure musicality. It’s the gold standard. When bands walk in and see that logo, you can see them relax.
Is there anything else you’d like to share with us?
Just a big thank you to Tim, Elliott, and the rest of the team at Rupert Neve Designs for helping us transition into this new era and building gear that makes us want to come to work every day. If anyone wants to make a record on the Mediterranean coast through an incredible signal chain, come find us at Croatia Soundworks!
