Between me and my son this place is like a bone yard of “old” gear. Recently a friend of mine was looking around and said “OMG you have stuff everywhere, I’ll bet there is some hidden treasures here somewhere”. He was right. The answer to my issue with needing a better ENG Mixer was right under my nose. Sitting on a shelf was an “old” Sure M367 6 channel mixer my son had brought around some time ago but I had not paid any attention to it. I knew what they were from my old days in AV. Sure sold thousands and thousands of them to AV companies because at one time they were the “professional” staple that AV companies would throw in every small break out room that needed a podium mic. I thought I knew these mixers because I had used hundreds of them. What I had forgotten about (because we never used it in AV) was the 9V battery power slot!

I dusted it off and was blown away by the features of my NEW ENG mixer! This is a high quality Sure product. A mixer needs to do the same job today it did 15 years ago. Utilize quality circuitry to process a clean audio signal. In the field I need a good basic mixer to handle my boom mic, a couple of wireless lavs, and have a couple of open channels for whatever else we throw at it. This thing is perfect for that.

The features:
6 XLR inputs, each line/mic selectable
2 XLR outputs, 1line, 1 line/mic selectable, (all mono)
Limiter, level selectable by dip switch
Chanel 1 can output 1K tone
¼ and mini headphone outs
¼ Monitor input
2 9V battery or AC operation, battery level test button, about 8 hour battery life
Peak/limiter indication lights
Phantom power
Low cut filters
Mix bus output 1/4
Phones volume control selectable between mix out/monitor input
Old fashioned VU meter w/light (maybe a drawback to some but I cut my teeth with them)
Some customization by dip switch
Made in USA by Sure Brothers
Fits in Porta Brace Audio bag, not too big but it is HEAVY (solid build)
Manual still downloadable on internet, and other info

This OLD mixer is replacing the newer Rolls mixer that has been in my audio bag for several years. I am very happy with it. The audio is super clean! I was never quite happy with the Rolls because I cut a corner at the time and bought budget product. The signal is not clean enough for me.

I scanned E-Bay before I wrote this and saw about a half dozen of them ranging in buy it now price from $175.00 to $300.00. I am not into short cuts or cheap gear. Most of the stuff in my “bone yard” is there for a reason. I am thrilled to resurrect this old mixer. It can do the same job as new ones costing hundred or a thousand more.


I am sure someone will question my choice of using old transformer-balanced inputs and old pre-amps but the signal is clean and everything works, so it works for me.

Yup a little know hidden gem and I have two of them that I bought for less than $200 each inc delivery to the UK, they also work on 110 or 240 volts via a switch inside and I re-calibrated the meters on mine so that they show 0VU for a .775v 1khz 0db (-18dbfs) line up signal and it also makes the VU's more useable.

I also calibrated the limiter to come in at +4db so if you peak with the limiter LED just slightly flashing you get a steady output at broadcast levels of +8db or -10dbfs, one great feature is the return input so you can monitor what is coming back from your camera or an IFB / talkback circuit on OB's.

Nothing wrong with transformer balanced inputs and outputs and for outside broadcast work where mine get used most they are better as they offer a degree of buffering to other kit.

User manual is here: http://www.sisme.com/arcfile/Shurem367_m.pdf

I am sure someone will question my choice of using old transformer-balanced inputs and old pre-amps but the signal is clean and everything works, so it works for me.

Quite the contrary. I've worked with transformer-coupled and transformerless inputs. In my experience, transformer coupled can eliminate various problems with noise, especially noise from RF sources. IMHO you can't beat a good audio transformer!

Have to totally agree with Greg and I still use external transformer isolation boxes to eliminate hum problems on outside broadcasts.

I found a Shure FP-42 used for $150 and removed the power cord. Quiet, yes. Great noise rejection: yes. Versatile: not one bit. 4 inputs, one stereo output. My Sennheiser shotgun will over power the input in loud situations like stadiums and helicopter scenes. I carry a pad. It's fairly easy on the three 9v batts. I'm not fond of the limiter circuitry so I run the mixer conservatively. I've modified the rack mount ears to accommodate a neck strap. When I'm doing the one-man-band shoot, I wrap the neck strap around my tripod. It's a tank. If I was a field recordist day in an day out, I'd buy something more versatile.

Can you tell I like simple things that work well?
_________________
More years in the big chair than I care to think about.
http://www.chilidogpictures.com

There is a great deal of sense in keeping things simple especially when recording audio in the field!

Gary,
I have been meaning to test and tweak the vu meter. Using a dancing needle again is pretty cool. And as you said the led light is there if you peak.

Stacy,
I goggled FP-42 and this link came up. FP42 and field mixing (http://shure.custhelp.com/app/answers/detail/a_id/2482/related/1/session/L2F2LzEvdGltZS8xMzU0NjM1NDQ1L3NpZC9GamlLcFZjbA%3D%3D)

It is Sure saying the mixer is too heavy to carry around the neck. Carrying gear like that around your neck is what free interns are for :0

Steve

I tend to just use VU meters as signal present indication as setting any meaningful broadcast levels are nigh on impossible and with the one on the Shure calibrated for 0VU = +4db means it barely leaves the back stop. re-calibrating it 4db down means at least it moves some distance if you are peaking to broadcast levels of a max of +8db.

Is there more to grading the sound of a field mixer than these? This makes the FMX 32a look like a pretty good choice and the FMX 32 a bad choice. What's up with the Shure?

I have 2x shure FP33 mixers and like them as a basic mixer, simple, reliable, and great for simple stuff,
still use mine for 'rugged' shoots rather than my SD442.

There are several shure FP33 mixers on eBay at the moment at VERY good prices, if you are interested get one with a porta brace bag / case.
The FP 33 is a bit better and robust than the FP 32 and 32A.

The 32a was advertised when it came out as a substantial improvement over the earlier 32 version.

I still have an M267 with the AC power cord removed that dates from the 1970's. At the very least it makes a great tone generator with mic/line switchable output levels.

I also have an FP42, which is a great mixer for those times I must leave something to record long sessions that I won't attend in person for the endless hours of documenting what is discussed in brainstorming sessions. (Although how much "brains" can be involved in recording hours of discussions that I doubt anyone will ever listen to? But I'm happy to provide the service as long as I can set up and then leave...)

I picked up an M267 at a local pawn shop for about $45 or so. Haven't tried it on battery power yet.

"The 32a was advertised when it came out as a substantial improvement over the earlier 32 version."
-- Neither were very quiet, but dependable and the staple of ENG mixers in their day. It's near impossible to get parts for the 32a, but the original 32 used many generic components which are easy to obtain. I still have a 32 in my attic as well as a M67. The M67 wasn't exactly portable though., needed an external battery PS if A/C was not available. The M67 had it's day as well in broadcast studios.

The main problem with the FP32 was only 18v phantom power, the FP32A was upgraded to 48v phantom and the FP33 came out with better sealed pots and a better ganged master O/P gain control.