<h1>Neve BCM10/2 Mk2 10-Channel Analogue Console </h1>
<i>The BCM10/2 is powered by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</i><br /><br /><div><div>The classic and legendary Neve BCM10 console has become a connoisseur’s favorite in recent years for use as a sidecar for larger studios. Powered as it is by Neve 1073 mic pre’s and EQ along with its 1272 summing mixers it’s guaranteed to delight the most demanding ear.</div><div>Given the scarcity of these treasured classic consoles and their suitability for up to the minute techniques of recording with workstations, the BCM10 is an ideal partner as a main console in such a set-up.</div><div>Therefore Neve designers are proud to announce the BCM10/2 MK2 with all the revered design, genuine Neve modules and sound, yet with additional convenience features for modern day recording and utilizing the new 1952 switching unit – all adding up to a blissful recording experience.</div>
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<font color="#000000" size="5"><b>Neve BCM10/2 Mk2 key features:<br /></b></font>
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	<li><span style="background-color: initial; letter-spacing: 0px;">Neve classic sound using Class A topology</span></li>
	<li>Console sizes: 10,16,24 or 32 channels</li>
	<li>1073N microphone preamp and EQ module in each channel</li>
	<li>Classic voltage mixing using 1272 balanced mixing topology</li>
	<li>2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus</li>
	<li>Direct outputs on every channel selectable pre or post channel insert</li>
	<li>Simple Input to each channel doubles the mix inputs when mixing and also allows monitor and cue mixes</li>
	<li>4x Auxes, 1x Stereo Cue, 1x Stereo Main Mix Bus</li>
	<li>Stereo and 5.1 monitor with passive 24 position gold plated monitor level control</li>
	<li>3x Stereo & 1x 5.1 selectable loudspeaker output sets</li>
	<li>Comprehensive Solo system with destructive and safe/isolate modes</li>
	<li>2x Stereo reverb returns with width, mono and balance controls & 2x mono DI to bus inputs</li>
	<li>Main Mix output insertion selectable pre or post fade with IMR (Insert Mix Return) parallel processing controls</li>
	<li>25-way D-sub connectivity for easy installation into home or studio environments</li>
	<li>Optional side car stand on castors</li>
	
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<h2 style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 20px;"><span style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;">AMS Neve BCM10/2 Mk2—Beneath the Surface</span></h2>
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	After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2—and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you’re looking for a no-frills, “just the fact’s ma’am” type of console with the world’s best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can’t compete with.</p>
<h2 style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;"><span style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;">BCM10/2 Mk2 options</span></h2>
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	To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
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	<li>10, 16, 24 or 32 channel configurations</li><li><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;">Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels</span></li><li><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;"></span><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;">Pair of loudspeaker shelves – mount on top of the console</span></li><li><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;"></span><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;">Sidecar stand with lockable castors (32-fader stand has fixed feet)</span></li></ul><span style="font-family: niveau-grotesk, sans-serif; background-color: initial; letter-spacing: 0px;"></span><p style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; line-height: 1.5; border-radius: 0px; color: rgb(51, 51, 51); letter-spacing: normal;">
	 <span style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;">PAD For the Record</span>—<em style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif;">The simple truth is that analog consoles can do things that can’t be done by mouse or control surface. One such function is riding input faders—the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it’s risky, but that’s what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.</em>
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<h2 style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;"><span style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;">PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what’s the difference?</span></h2>
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	<em style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif;">In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.</em>
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<h2 style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 500; line-height: 1.1; color: rgb(51, 51, 51); margin-top: 20px; font-size: 16px;"><span style="box-sizing: border-box; font-family: niveau-grotesk, sans-serif; font-weight: 700;">Hybrid mixing with the BCM10/2 Mk2—the best of both worlds</span></h2>
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	If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it’s still much easier to recall a mix than if you did everything in the analog domain—and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
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	Another benefit of going through a console is that you don’t have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you’re not losing your tops, watch levels going back into the DAW, and Bob’s your uncle.
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	At the end of the day, it’s sound quality, emotion, and human interaction that makes great music—something that crunching numbers in a no-risk environment just can’t stand up to. If you want to make records the way records should be made, there’s no substitute for a great-sounding console and the ability to mix like you’re playing an instrument.
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<h3>The Neve BCM10/2 can mean the difference between a good mix and the perfect mix! For more information, call or chat with an RSPE representative today.</h3>