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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.
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.
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.
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.
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.
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
PAD For the Record—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.
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.
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.
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.
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.
Manufacturer | AMS Neve |
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