Mixers

An automatic microphone mixer turns microphones on only while someone speaks into them and lowers the total gain as more microphones open. This keeps speech clear and reduces feedback in rooms with many microphones.

The Shure SCM410 (4 channels) and SCM810 (8 channels) in this collection use Shure IntelliMix, with a noise adaptive threshold and NOMA (Number of Open Mics Attenuated). They suit meeting rooms, council chambers, courtrooms and panel discussions.

The Shure SCM800 is an 8-channel manual mixer, where an operator sets each level. The SCM810 is an 8-channel automatic mixer with IntelliMix, which opens microphones automatically when people speak.

The SCM800 links up to 4 units for 32 input channels and has a 2-band EQ, an insert jack per channel and a headphone output. The SCM810 has Phoenix-block inputs, 8 direct outputs and links for up to 400 microphones, and fits one full rack unit.

The Shure SCM262 takes 2 microphones plus 3 stereo music inputs, the SCM268 and SCM410 take 4 microphones, and the SCM800 and SCM810 take 8 microphone or line inputs each.

For larger rooms, up to 4 SCM800 mixers link to give 32 input channels, and Shure states that linked SCM810 automatic mixers support up to 400 microphones. The SCM800 is also compatible with the SCM410 and SCM810 automatic mixers.

Yes, at different voltages. The Shure SCM262 and SCM268 provide 12 V phantom power, and the SCM800 provides 48 V phantom power that can be switched on for each input.

Check the condenser microphone's phantom power range against the mixer before connecting it. The Bose T4S and T8S ToneMatch mixers in this collection also provide 48 V phantom power on all channels.

The Bose T4S and T8S are compact digital mixers for presenters, corporate events, live streaming, mobile DJs and musicians. The T4S has 4 XLR combo inputs and weighs 1.0 kg; the T8S has 8 XLR combo inputs and weighs 1.9 kg.

Both process audio at 48 kHz / 24-bit with ToneMatch presets, EQ, dynamics and effects on each channel, an OLED display, recallable scenes and USB for playback or a computer. Two ToneMatch outputs connect to Bose L1 systems.

Yes. Shure states that the SCM410 automatic mixer interfaces with Crestron control systems, and the SCM810 offers complete logic control of microphone activation.

Logic control lets a control system or push-to-talk buttons mute microphones or show which ones are active. Plan the logic wiring with the control programmer before installation, so microphone LEDs and mute buttons behave as users expect.

All the Shure SCM mixers in this collection are built for rack mounting. The SCM262, SCM268 and SCM410 fit a half-rack space and include rack mounting hardware, and the SCM810 takes one full rack unit.

Two half-rack mixers can share one rack space with dual rack mount hardware such as the Shure UA507. Leave space for ventilation and keep the mixers close to the amplifiers to shorten line-level cable runs.

Choose a mixer when the task is to combine a few microphones and sources into one output. Choose an audio processor when the system also needs zones, echo cancellation, Dante networking or scheduled changes.

For example, a Shure SCM410 handles 4 microphones in a meeting room with automatic mixing, while a Bose ControlSpace EX-1280C adds 12 echo-cancelling channels and 64 × 64 Dante for rooms with video calls.

Yes. Shure states that an internal modification sets the SCM800 for 230 V operation or 120 V operation (SCM800E), so the setting must match the local mains supply. UAE mains is 230 V.

The Shure SCM810 runs on 120 or 230 Vac with an internal power supply, and the SCM268 has an IEC power cord connector with an internal toroidal transformer instead of an external adapter.

The Shure SCM800 has a 2-band EQ on each channel, with low-frequency roll-off and high-frequency shelving, and a peak-responding output limiter with selectable thresholds and an LED indicator.

The SCM810 also has adjustable EQ on each channel and a level-selectable peak output limiter. The limiter protects the amplifiers and loudspeakers from sudden peaks, such as a dropped microphone, without changing normal speech levels.