Top 5: RMV Recording Studio

Located on Skeppsholmen, one of Stockholm’s many islands, is RMV recording studio (Riksmixningsverket in Swedish), owned by ABBA’s Benny Andersson. Housed in a charming red-brick building overlooking a picturesque seaside landscape, RMV sits near a similar structure that houses Andersson’s record label and mixing suite, Mono Music.
“Though it’s kind of a secret location, it’s still very central to everything,” says Linn Fijal, RMV’s studio manager and house engineer. “I like that because it feels like being in the countryside, yet it’s right in the heart of Stockholm.”
Over the years, RMV has welcomed an impressive roster of artists, ranging from Cat Stevens and Celine Dion to The Hives, Coldplay, and Swedish Eurovision winner Loreen, to name just a few.
Inside, the studio features a control room and a spacious live room with soaring ceilings—large enough to accommodate an orchestra—along with four adjoining isolation booths. RMV opened its doors in 2011, with its first recording session featuring the Benny Andersson Orkester.
During a recent trip to Sweden, I had the chance to visit RMV and get a closer look at its operations. Studio manager Linn Fijal graciously walked me through some of the studio’s unique recording gear. While I was there, workmen were in the early stages of building a mastering suite on the upper floor, which the studio plans to launch in 2025.





MANIBUS DE GEER MICROPHONES
“These mics are handbuilt by Didrik de Geer, who produces only about three a year, making them incredibly rare. Our models date back to the 1990s and feature AKG capsules, though Didrik eventually began crafting his own capsules. Despite having no formal engineering education, he’s a genius building audio gear in his basement.
“We use these mics because they’re outstanding—clear yet soft, with exceptional detail and depth. They’re highly resistant to distortion, making them versatile for virtually any application. Most commonly, we use them for vocals (including on the new ABBA recordings and many others) and orchestral recordings. They also shine on strings, as room mics, or even as drum overheads. These mics are featured in nearly every RMV recording and are integral to the studio’s signature sound.”
















YAMAHA NS-10 STUDIO MONITORS
“I’m a big fan of the Yamaha NS-10 studio monitors. They deliver a remarkably clear image of the midrange frequencies, and once that’s sorted, you can trust your mix to sound great on any speaker. They’re brutally honest in that way.
“While I’ll use another set of monitors to refine the bass and high-end frequencies at the end of the process, the NS-10s are my go-to for long mixing sessions. I also experience less ear fatigue with them, as I can work at lower volumes for extended periods.”



NEVE 8068 MIXING CONSOLE
“Our Neve 8068 console was originally two separate desks, joined together in Nashville by Fred Hill, who designed the centre section. It was first built for the BBC in Nashville, then moved to the BBC in England, and possibly spent time at Battery Studios in London — though we can’t confirm that part of its history.
“We purchased it from Maratone, Max Martin’s former studio in Stockholm, where it was used during his boyband era. We even found automation data from Backstreet Boys sessions. Sonically, it offers incredible depth, a soft high-end, and beautiful analog distortion. It’s a classic for good reason.”
















EMPIRICAL LABS DISTRESSOR
“I’m a compressor enthusiast — they’re my primary tool. I frequently combine Teletronix LA-2As with dbx 160s and a Distressor, though I’m also a fan of the Neve 2254 and UREI 1176.
“The Distressor is my favourite. It’s fast, versatile, and reliable. Plus, I love its distortion — it’s fantastic for adding overtones when using dynamic mics.”



THURESSON CM402 MICROPHONE
“Our standard choice for piano recording is the large-diaphragm Thuresson CM402, built by Jörgen Thuresson. These condenser mics are highly adaptable and incredibly transparent, perfectly capturing the natural sustain and tone of our grand piano.
“We aim to avoid EQ as much as possible since any phase changes are highly noticeable on our piano’s clear, resonant sound. If I want a softer tone, I pair them with Royer R121 ribbon mics. For a more spacious feel, I’ll position De Geer mics behind the pianist’s head or high on the side of the open lid, depending on how bright I want the result.”










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