The World’s Most Accomplished Studio Console
With exquisite design, peerless craftsmanship and legendary sound, the 88RS continues the Neve® bloodline of analogue consoles with a remarkable advance on anything ever heard before. The 88RS is the first choice for recording and mixing pristine, high-fidelity recordings with high audio bandwidth, superior dynamics, and a huge dynamic range.
180° – Click & Drag
The Ultimate Channel Strip
The 88RS console features two modules: one dual-line input module with remote preamps and the Marinair® transformer-balanced preamp module. The Transformer balanced preamp produces up to 70dB of microphone gain, with just the right amount of Neve® character for modern recording.
The input filters use 12dB/octave for high and low pass, with continuously variable frequency ranges from 31.5Hz to 315Hz and 7.5kHz to 18kHz. The filters can be switched into the channel or monitor path independently of the EQ by pulling out the relevant frequency control knob for ultimate flexibility.
Every channel on the 88RS console features a powerful VCA compressor/limiter with rotary controls for release, threshold, ratio, and up to 30dB of gain make-up. Advanced controls for sidechain EQ, stereo linking and a unique auto-release with anti pumping and breathing circuitry allows the unit to operate on the source musically whilst retaining absolute control over the dynamic range.
The 88RS dynamics section includes a robust gate/expander with rotary controls for range, threshold, release time, and a switchable attack time and advanced controls such as EQ sidechain and invert. The hysteresis control sets a separate threshold for rising or falling signal levels, preventing noise when turning the gate on and preventing the reverb signal ‘tails’ from being prematurely gated.
The unique sound of our equalisers is the result of years of research and extensive studio experience; the 88RS EQ provides 4-band parametric equalisation with overlapping frequency ranges. The two mid-bands have variable controls for Q, gain and frequency. The Q also changes automatically with gain. The high and low-frequency bands feature variable gain (20dB cut and boost) and frequency controls with switchable Q and switchable peak or shelf curve.
Eight auxiliary sends with independent routing allow for contribution-based multitrack bussing. Each pair of auxes can send from either the channel or monitor path; this flexible routing feature is utilised by the inserts with channel/monitor path selection; in addition, inserts can be positioned pre/post EQ and pre dynamics, allowing for on-the-fly customisation of signal flow.
The 88R multitrack bus system gives each channel, monitor, and auxiliary access to 48 mono or 24 stereo busses. This system provides ultimate flexibility when tracking, as multiple channels can feed the same direct output, and when mixing, monitor paths can access the same interface input without repatching.
The 88RS has two-channel strip configurations, one with an integral microphone amplifier and one with dual line-level inputs that will support an optional remote microphone amplifier. The dual line-level input option can connect to a rack of 1081R preamps, providing complete remote control from the console surface.
The 88RS is an in-line console with two fully automatable motorised P&G faders per channel strip. The console has a sophisticated monitoring system allowing monitoring freedom in the control room. EQ & dynamics can be routed to the channel or monitor paths independently, and either the channel or monitor fader can feed the cue sends & multitrack routing independently.
Specialist external preamplifiers such as the 1081 modules can feed directly into the 88RS fader, bypassing the 88RS channel strip functions; this feature is excellent for customising specific console channels to behave and sound like a vintage board.
The 88RS pan system can be set as conventional stereo or LCR panning when working in 5.1 surround mode. Each monitor and channel pan is independent with wide/narrow and phantom centre settings to select pan law for each signal path.
The 88RS has extended solo and cut facilities with global and individual channel controls. Destructive and non-destructive soloing is available via solo-in-place, after-fader-listen, or pre-fader-listen. The AFL solo system can blend with the main mix using the mixed solo pot, creating a highlighting effect rather than a hard solo. Two independent cut groups are essential for controlling large mix groups with cut group automation available via the Encore automation software.
The 88RS is designed for stereo and surround mixing from the ground up. The standard monitoring system handles formats of up to 5.1 wide. Formats up to 7.1 are achieved using the optional scoring panel. Unlike similar large format analogue consoles, the 88RS offers true LCR panning from the channel modules, in addition to conventional stereo panning.
The console has two Cue mix options. The standard dual cue system provides two independent stereo cue mixes & the optional Qual Cue Mix Panel provides four stereo or up to eight mono cue mixes for performers. Each cue system has a source routing matrix with two source blend control, tilt EQ and MONO facilities.
The 88RS has three loudspeaker outputs – large, small & mini. Each output has individual trim control for accurate LS calibration and separate speaker cut switches and can be configured as stereo, 5.1 or 7.1 depending on studio requirements.
The control room monitor control is a ganged, stepped attenuator that controls the surround sound volume without using VCA’S. The audio elements of the switch keep each speaker output to within +/- 0.2dB of each other.
The 2T down mixer is a valuable tool for making high-quality simultaneous mixes from the surround outputs of the 88RS console. This simple yet intuitive system provides source blending for all surround outputs to feed into an independent stereo output allowing for total control over a fold-down mix.
The 88RS meterbridge features high resolution multi-mode multitrack meters on channels and a comprehensive centre section for metering mix, monitor and auxiliary outputs. Each channel meter shows routing selection and features independent gain reduction metering for the limiter/compressor and gate/expander. The centre section metering features eight moving coil meters for PPM/VU scale metering of Auxiliary sends.
Scoring & Automation
The optional 88RS stem mixer enables recording of individual stem groups, 5.1 surround outputs and 2T stereo outputs simultaneously. This ideal tool for orchestral scoring gives the engineer an additional 36 busses through 6 sets of stems fed from the large or small faders. The stems are fed from the LCR & Surround panning system, creating multiple surround format, instrumental stem groups.
The 88RS uses a dual LCR system allowing for multiple surround formats depending on the required deliverables. The reassign matrix panel controls the main mix format by configuring the main busses for the desired combination of stereo and LCR outputs. The optional joystick module provides two joysticks for full surround panning with automatable control of any object in the surround field.
The optional 88RS scoring panel features an eight-track LS monitor system, comprehensive stem monitor for all stem groups, four 2T mixers and in-depth LS selection with fold-downs from 7.1 to 5.1 to stereo and fader control for all LS outputs. The stem monitoring can be DAW/tape machine send or return for further monitoring flexibility. With three separate master faders for music, dialogue and FX, scores can be dynamically recorded and perfectly balanced to film during complex scoring sessions.
Every setting, pot and fader position can be recalled through the onboard computer Encore system. Soft switches, large & small faders, scoring panel settings, monitor setups & stem bus routing happens automatically at the push of a button, where pot positions follow the interactive on-screen recall procedure to recall the entire console.
Both the large and small P&G faders are motorised and fully automatable via the Encore automation software. These precision controls provide fidelity and ultimate control over the console signal paths, and stereo pans can be automated via the faders for more complex mixing sessions.
The 88RS automation is controlled by our proprietary Encore software program, ran from an independent computer system. Encore is the most complete, standalone automation system ever created, evolving from a long line of flying fader software to provide dynamic visualisation, automation and control of all available console parameters.
From our Community
”There is nothing quite like the 88RS; it is simply the world’s greatest analogue recording consoleSimon CampbellAbbey Road
Ocean Way Studios
More Information and Support
The 88RS comes with a range of options including the SP2 Scoring Panel, the powerful Stem Mixer and Classic Neve remote mic pre-amps.
Contact firstname.lastname@example.org for further information
- Designed for full surround from the ground up
- The clearest pure signal path with NO VCAs
- Motorised large and small faders
- Encore Plus automation
- AFL surround solo monitor
- Latest VCA technology for low noise and excellent low-level distortion
- Overpress PFL on each channel fader
- Four main output faders, L/R, C, S, and LS/RS
- Fader starts on all channel faders, all VCA group faders and all output faders
- Solo system defaults to safe mode
- Acoustically optimised frame
- Supplied with or without patch
- Enhanced ‘S’ channel strip
- Enhanced spectral Neve formant equalization
- Legendary Neve soft-knee compression
- 24 step precision volume control
- Two faders per channel strip
- Remote mic amp option
- 5.1 monitoring as standard
- Audio performance beyond 24/192 digital
Microphone Inputs (Transformer Balanced)
- Input Impedance – >1k ohms
- Input Balance – >70dB at 1kHz
- Input Gain Range – Continuously variable between -70dB to +0dB
- Input Headroom – +26dB above nominal input level referred to 0dBuMic Input Pad 20dB
High Level Line Inputs (Electronically Balanced)
- Input Impedance – >10 k ohms
- Input Balance – >50dBLine
- Input Gain Range – Continuously variable between -10dB to +10dB
- Input Headroom – +26dB above nominal input level referred to 0dBu
Track Outputs (Electronically Balanced)
- Maximum Output – +26dBu into 600 ohms
- Output Impedance – <55 ohms
- Output Balance – >35dB
Main & Auxiliary Outputs
- Maximum Output – +26dBu into 600 ohms
- Output Impedance<55 ohms
- Output Balance>35dB
- Input Threshold – +15dBu to -65dBu
- Attack Time – Normal: 500ms Fast: 50ms
- Release Time – 10ms to 3s
- Hysteresis – Up to 25dB
- Attenuation Depth – Up to -60dB
- Input Threshold – +20dBu to -30dBu
- Attack Time – Programme dependent – Normal: 3ms/20ms Fast: 1ms/7ms
- Release Time – 10ms to 3s with automatic ‘hold’ and impulse release circuit. Also with automatic release giving programme dependent release time.
- Compression Ratio – Variable between 1:1 and limiting
- High-Frequency Peaking/Shelving – 1.5kHz to 18kHz
- Mid 2 Frequency – 0.8kHz to 9.0kHz
- Mid 1 Frequency – 120Hz to 2kHz
- Low-Frequency Peaking/Shelving – 33Hz to 440Hz
Frame Size Approx. console weight including modules kg (lbs)
- 48 Channel – remote patch 976 (2147)
- 60 Channel – remote patch 1130 (2486)
- 72 Channel – remote patch 1274 (2802)
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