Telefunken USA

Telefunken | USA Ela M 250F

Vintage mics are often cited as being among the best — and this offering is vintage to the roots. Huw Price goes back in time...

Vintage Telefunken microphones are among the most valuable and collectable of all classic recording equipment - despite the fact that Telefunken didn't actually make them. Instead, the leading microphone manufacturers of the 50s and 60s were contracted to make them for Telefunken on an OEM basis. Invariably, these microphones were just re-badged Neumann U47s, Schoeps M221s and so on. Until 1958, all Neumann mics exported to the US were branded Telefunken, but when this arrangement changed, Telefunken decided it needed a microphone it could call its own.

The company commissioned AKG to design and build a large-capsule condenser that would surpass the Neumann U47 in sound quality. Subsequently, the Telefunken ELA M 250 was introduced in 1958. AKG used the CK12 capsule from its C12 mic mounted in a wider chassis under a metal grille. The ELA M 250 had only two pickup patterns, omni-directional and cardioid, but figure-8 was added for the ELA M 251.

AKG originally used the AC 701 tube that was the standard for audio applications in 1950s Germany, but realised that the 6072 tube would be preferable in microphones destined for the US. An E (for 'export') was added to the model designation.

Old hands

Many vintage microphones suffered high noise floors due to circuit board moisture absorption. To solve this, AKG used polystyrene plastic for the boards, the valve was inverted to minimise cable length from the capsule, and a 100Hz bass rolloff facility was added.

Estimated production figures for the ELA M 250 series vary from fewer than 2,000 to almost 3,000. Even if you could afford one, unmolested and perfectly functioning examples are almost impossible to find and rarely appear on the open market. Maybe, then, you're wondering why we're giving you all this info about a long-extinct microphone. The reason is that Telefunken USA's ELA M 250 is an exact replica of the original.

The M 250F version we're reviewing here comes from the company's more affordable Professional series. Ditching the flightcase and the vintage-spec power supply offers some savings, but in every other way the M 250F is just like the originals. The only grey area is the capsule. Telefunken USA's Platinum range features newly manufactured CK12 capsules, while its Vintage range has original AKG CK12s. The Professional range contains Telefunken USA TK12 capsules that were designed to accurately re-create the original's sonic properties, but the company wasn't very forthcoming with the details.

Testing times

As soon as you see this mic you become aware that you're dealing with a very special microphone indeed. Ever wondered why records made by top engineers sound so great? Well, here's a little insider secret: when you have access to the very best mics, preamps and rooms, you'd really have to go out of your way to mess up the sound. Indeed, the M 250F is one of those microphones that almost does the job for you. We started with acoustic guitar, lining it up against a renovated 1950s Neumann CMV563 with an M7 cardioid capsule. The difference was dramatic, but completely in line with what you'd expect if you've used vintage Telefunkens and Neumanns before.

The M 250F has a wider spread of frequencies, especially in the top end. When knowledgeable pros talk about 'vintage warmth', the defining factor is the quality rather than the quantity of the high frequencies. The M 250F's detail and transparency is remarkable, yet it sounds intimate rather than forced.

Drum it in

The M 250F also captured the acoustic guitar's tone with an eerie realism. By comparison, the Neumann is thicker and pleasantly coloured in the mids, but without the tightly controlled lows. Switching the M 250F to omni, the sparkling highs remained and the lows gained some extra focus, but at the expense of some midrange presence. The M 250F excels as a cardioids drum overhead. Cymbals sound crystalline, while the rest of the kit remains well balanced and defined.

Again, the Neumann sounded meatier in the mids, but it couldn't match the M 250F's lightning transient response. Switching to omni, the M 250F overhead did an even better job of capturing the kick drum. The Neumann capsule gave the M 250F a run for its money in the highs and lows, but it wasn't as 'together' in the midrange. One of the M 250F's most surprising attributes is its power handling. Lots of valve mics tend to distort in front of guitar amps, but the M 250F sounded smooth, detailed and perfectly at ease. It's also perfectly balanced for naturalsounding vocals, and our guitar adventures suggest that dynamic vocalists won't trouble it whatsoever.

The real deal

Users of original Telefunkens describe the sound as a glorious hybrid of the Neumann U47 and the C12 - the fatness and midrange of the former combined with the silky highs and extended top end of the latter. That's certainly how we'd describe the M250F. There's no denying it's expensive, but when you consider the money you'll save on 'warming up' plug-ins, placebo valve devices and exotic EQs, the M 250F looks very tempting.

Webster University Students

Alan,

I've had time since returning home this evening to listen more carefully to the test recordings the students and I made with the RM-5C ribbon microphone. The class at Webster University consisted of 15 junior and senior Audio Production majors (we don't just teach music recording but rather all aspects of audio production). These students participated as engineers, listeners and musicians. I couldn't have done the evaluation without them. They were great -- enthusiastic, critical and musical. Both they and I are excited at being among the first to hear this fine microphone.

The setup was quick and not at all scientific, but informative anyway. We used only two microphones, a classic English ribbon mic and the RM-5C. As I suspected, these mics are pretty much polar opposites. We used the two mics for male voice; female voice; acoustic guitar; tenor saxophone; and a pair of congas. No adjustment was made to ensure both mics produced the same output level -- we just "ballparked" it. That was all we had time for. The signal path was very simple: Microphone to Gordon Instruments Model 5 preamp (probably the best preamp ever made) to RADAR 24 running at 96kHz and 24 bit.

For the voice tests, no effort was made to adjust either microphone for "best sound". It was just "let's put up the mic and hear what it sounds like at a specific distance". The RM-5C gave a good sound right off. With a student speaking 4 inches away from the mic, the bass was full. Proximity effect was well controlled even at that distance. The bass was tight, never muffled or muddy. There was a rise in the mid and high frequencies. The "sibilants" were highlighted but not out of balance. The comparison mic offered its character to the voices during its turn -- a generally smooth sound with a bit of "bloated" bass (proximity effect) and a reduced mid-range/treble. While the RM-5C gave a usable sound right out of the box, the other mic would have required some time for us to EQ it.

With regard to polar pattern, the RM-5C has a very tight cardioid with some tonal change at 90 and 270 degrees. The rejection at 180 degrees was excellent. What was heard from that angle still sounded quite good. The other mic had a uniform tonal balance at all angles and was classically "Figure-8" as one would expect. Here, the speaker's voice totally disappeared at 90 and 270 degrees and the back of the mic, at 180 degrees, still sounded good and not greatly different from 0 degrees. Both microphones obviously have their uses but the RM-5C, with its cardioid pattern, might be a better choice in a room with poorer acoustics.

The comparison mic is very smooth and silky, with much more bass and a recessed treble. The RM-5C is a more "present" microphone, with a well-boosted mid-range, a rise toward 10k and a recessed bass. It is the bass bump at 200 Hz that creates some bottom, preventing the mic from being too bright overall. I think it's important for me to stress that in no circumstance did the RM-5C ever sound harsh, strident or unpleasant. It maintains its appeal with a smooth sound even though its frequency response is "tipped up".

For the instruments, we placed each microphone (one at a time) for "best sound". The RM-5C's 200Hz bump is large enough to add some sense of bass for voice. However, it didn't give the necessary bottom to the tenor sax (as a jazz instrument). In this instance the English mic was preferred.

The RM-5C was certainly a good choice for guitar. While it did make the instrument sound "mid-rangy" and a little bright, this could be exactly the sound the engineer wants to help the instrument cut through on a track while still sounding "smooth". In checking the sound, I listened to the guitar in the control room and then again in the studio. The RM-5C was giving us the guitar pretty much as it sounded in the studio. The other mic sounded "dull" by comparison, but still gave the big warm bottom sought after in jazz or classical guitar.

The RM-5C was an instant "winner" for congas. The skin and "thunk" of the drums were wonderfully captured by the mic. Transient response was good! The other mic simply couldn't match that.

There was no time to play with EQ, but I am convinced the RM-5C would respond to equalization as well as the other test mic. In other words, I don't expect either mic to have a problem with a "tonal touch-up". We didn't get a chance to try the mic with its windscreen. I am still eager to know how this screen affects frequency response, if it does at all, and will have to make this test soon.

To sum up, the RM-5C is an excellent microphone with a definite personality. It possesses a mid to high frequency rise and is a little bass shy. This makes the mic seem more "present" or "aggressive" than the comparison mic. But the RM-5C was never harsh in our tests. The RM-5C is perhaps a more modern ribbon sound (than the English model) while remaining quite versatile. Both however are definitely in the same league. The RM-5C produced about 5 dB less output (although we didn't measure, we did have to switch the gain 5 dB higher) than the other microphone.

I think the RM-5C is well-made, handsome and stylish. It is a microphone worth owning. I would like to see a wooden box for the mic. I think that is necessary. I would like to see a better shockmount, if only as an option, but the current one is acceptable.

Best regards,

Barry

Hufker Recording, St. Louis, MO
Associate Professor, Audio Production
Webster University, St. Louis, MO

Pictured at AES 2004 are (L-R) Telefunken USA CEO Toni Fishman and multiple Grammy®-winner Rafa Sardina. Photo by David Goggin.

San Francisco, AES 2004 - Seven-time Grammy-winner mixer/engineer Rafa Sardina has purchased a matched pair of Telefunken USA's Ela M12 recreations of the classic microphone manufactured in the 60s and considered one of the most desirable of the classic condenser tube microphones. Sardina's impressive client credits include Macy Gray, Jessy Moss, Dr. Dre, Luis Miguel, Sheryl Crow, Marc Antoine, Angie Stone, Alejandro Sanz.

Because all microphones have slightly different nuances and subtleties, a perfectly matched pair requires meticulous manufacturing standards and extensive performance testing.

"I see my work much like a photographer's," says Sardina, "as transparent as possible when required but always providing the creative edge to affect the song and performance in a positive way. To achieve that goal, I like to create a comfortable and inspiring environment using the best acoustics and tools available - especially the finest microphones, the first step in getting a great recording."

TELEFUNKEN USA INTRODUCES NEW
"NO FRILLS" CLASSIC ELA M 251 F PACKAGE

South Windsor, CT, October, 2004 -- Telefunken USA is now offering their flagship microphone, the Ela M 251 F, winner of the 2003 TEC Award for Studio Microphone excellence, in a new "no frills" package. The Ela M 251 F microphone houses the same meticulously hand-crafted components and vintage tube, yet is now available without the sumptuous flight case and the power supply is a modern version of the historical one.

"After perfecting our reverse engineering technology in the re-creation of the 251, and with manufacturing breakthroughs we've achieved in the last six months, we have been able to minimize our costs considerably and can now pass this savings on to the recording community," explained Toni Fishman, CEO and company founder. "You might think of the new package as a coach ticket as compared with business class, but you still arrive at the same destination."

Since its introduction, Telefunken USA's Ela M 251 has gained widespread recognition among the recording industry's top professionals, with microphones now in the hands of many award-winning producers and engineers, and in use by some of the music world's most successful artists.

"We are very proud of the hard work and investment we have made in bringing back the sound of the most sought after microphone ever built," added Fishman. "There are no compromises in our workshop."

The Telefunken USA Ela M 251 F is now available for $4,995 MSRP.

Telefunken USA Delivers New Ela M12

South Windsor, CT, July, 2004 -- Telefunken USA is now shipping the Ela M12, a faithful reproduction of the legendary C12 condenser microphone. Following the industrywide acclaim of the Telefunken Ela M 251, winner of the prestigious 2003 TEC Award for Studio Microphone Technology, the new Ela M12 epitomizes the classic, large diaphragm, condenser tube sound. Each Ela M12 system is handcrafted in the USA, utilizing the original Austrian blueprints, and meticulously duplicating the original specifications. The Ela M12 features a 9-polar pattern remote control, adjustable from omnidirectional to hyper-cardiod. The mic houses an NOS 6072 tube, T-14 transformer and TK-12 capsule, an exact reproduction of the CK-12 capsule found in historic prized Telefunken microphones. Included is a jewelers microphone box, flight case, swivel connector cable, owner's manual, and 5-year limited warranty. Price: $5,995.

Telefunken USA CEO Toni Fishman with the company's new Telefunken Ela M12 microphone, which utilizes the GE 6072A vintage tube.

Telefunken USA Procures Last Large Cache of Vintage Tubes

South Windsor, CT, August, 2004 -- Telefunken USA has acquired what is believed to be the last large stock of vintage NOS (New Old Stock) 6072A General Electric tubes, manufactured to strict military/industrial standards. The 6072A is the premiere tube used in Telefunken USA's line of new microphones which faithfully recreate the legendary vintage Telefunken sound. Detailed reverse engineering has produced not imitations, but meticulous reissues of the classic Telefunken microphones.

"After exhaustive searching we were able to purchase 4000 of the 6072A tubes," explained Toni Fishman, CEO of Telefunken USA. "They were labeled by GE in 1983, but were probably manufactured ten years earlier. This tube is the same one which was used by the great Austrian microphone manufacturers and is basically the heart of our new Telefunken USA microphones, including our popular Ela M251 and our recently introduced Ela M12. There is a supply of new tubes coming out of Eastern Europe and Asia, but we don't feel they come close to the performance of the vintage 6072A, and they don't last as long either. We are very fortunate to have found this precious stockpile, so that we can continue to build new microphones with that classic Telefunken sound."

Telefunken Ela M 251
One of the greatest mics ever made, the Ela M 251 needs no introduction, and Telefunken USA has brought it back into production. The approach? No compromises, built in the old-world tradition of meticulous hand-assembly by skilled technicians in the USA. Where possible, original suppliers are used to source components, from the Mylar of the diaphragm to the output transformer. Other components were reverse-engineered to original Austrian specs. The result is the legendary Telefunken Ela M 251.

Awarded to those products or innovations that made the most significant contributions to the advancement of audio technology... -- AES Outstanding Achievement: Technical

Telefunken Ela M 251
Pro Audio Review 2003 "Reviewer's Pick"

"...one of the best products PAR tested in
2003." -- Pro Audio Review

“You can imagine my excitement and skepticism when it was announced that the Ela-M 251 was back – identical to the original. Clearly, the 251 may be the finest tube mic ever made, which is why I own 20 of them. When I put up two of the new 251’s to compare to my originals, I was very impressed. All of the characteristics that make the Ela-M 251 exceptional were there and the overall sonic signature fit in perfectly with the rest of my collection. I can say without reservation the new Telefunken Ela-M is everything I hoped it would be.”

-- Allen Sides, Owner of Ocean Way Recording

June, 2003: "Microphone Defies Biz Trends: U.S. Firm Builds Reputation With $10,000 Replica"

For the review, please click here.

"Telefunken Visits Ocean Way"

For the review, please click here.

June, 2003: "Ela M 251 Tests at Ocean Way: Shines in Comparison to Vintage Models"

For the review, please click here.

Born of the idea to provide replacement parts and restoration services for vintage Telefunken microphones, the newly formed company Telefunken USA quickly expanded its mission to include the complete re-creation of several vintage products, including the revered Ela-M 251 microphone.

The new Ela-M 251 ($10,125) is the first of several faithful reproductions planned by Telefunken USA. Calling it a "tribute to the classic microphone," Telefunken USA's meticulously built reproduction of the Ela-M 251 microphone is a near part-for-part dead ringer of the original.

Features

The original Telefunken Ela-M 251, (a.k.a. "ELAM" 251 - the Ela-M moniker was short for Telefunken's Elektroakustic Microphone line) is one of those "golden voice" microphones with a recording history and aura as big as the sound it can produce. With less than 3,000 manufactured, it is no wonder that the original Ela-M 251 has become a coveted and highly valuable microphone. A top-condition original Telefunken Ela-M 251, introduced over 50 years ago with a $300 price tag, can sell for around $20,000 in today's market.

According to Telefunken USA, the company's research and development team spent over one year "reverse engineering [the mic], networking with the people who use them and the people who repair them, and meticulously documenting each and every part down to the last screw… Every measurement is still in metric and each part retains its original German spec."

The biggest challenge Telefunken faced was recreating the infamous CK-12 capsule, considered to be one of the most complex condenser capsule designs in microphone history. The capsule was recreated in the exact form as specified in the original authorized blueprints of the CK-12. According to the manufacturer, the capsules are hand-built one at a time, using materials identical to the original.

For those who are interested, Telefunken USA's website includes an interesting still-image "documentary" detailing its Ela-M 251 manufacturing process, including sections on the company's use of original injection mold technology (state of the art in 1960) and winding power supply transformers.

The mic is identical to the original in appearance, right down to the Telefunken logo pressed in sterling silver using an original Telefunken badge die stamp. The microphone body measures approximately eight and one half inches long and two inches in diameter and features the familiar three-position sliding polar pattern selector.

The mic connects to the power supply unit via a Neutrik six-pin XLR-style connector (one of the few obvious differences from the original, which used a sometimes-problematic DIN connector). The power supply unit features an on-off toggle switch, big red pilot light, and a fuse holder (.08A/30V). The old hard-wired A/C power cord has been upgraded to a standard IEC socket and removable cord.

In Use

In the recent past, I have had several opportunities to record with vintage Telefunken Ela-M 251 microphones. Through Pro Audio Review, I have also had the opportunity to record and evaluate the recent Soundelux and Lawson 251 reproductions. While I found both the Soundelux and Lawson reproductions were excellent microphones in their own right, Telefunken USA's Ela-M 251 recreation is without a doubt the closest match when compared to the sound and build of the original.

Sonically, the Telefunken USA Ela-M 251 is as good a mic as any original model I have used. Its recreation of the classic 251 sound is, to my ears, pretty much dead on (of course, at this stage, finding two original M 251s that sound exactly alike is impossible). Telefunken set out to clone an original and succeeded admirably.

During several weeks of use, I found that the mic was more versatile than any of the original M 251s I have used. Perhaps this was because it is less fragile than an original so I felt less restrained in setting it up and breaking it down so many times - the originals tended to stay safely in the box until the big vocal sessions. It may also be that this mic provided a more predictable recording experience over the originals.

I enjoyed using the mic on typical favorites: male and female vocals, top end of the grand piano, baritone sax etc. But I also found myself using the mic on a variety of other instruments on which I had not previously tried a 251: solo cello, acoustic guitar (steel and nylon), "big" drum room mic, overhead on vibes, bassoon - all with excellent results.

I also noted that the Telefunken USA mic seemed markedly quieter than any of the original 251s I have used - something that has bothered me with the original models in the past.

Unfortunately, it was not possible to do side by side comparisons, but listening to vocal recordings I made with each of the four models (original Ela-M 251, Soundelux ELUX 251, Lawson L251, and the Telefunken USA Ela-M 251), while unscientific, helped confirm my observation that the new Ela-M 251 sounded closest to the original. I should note that the singer was the same in each of the recordings (me) and the same mic preamp (API 512) was used to cut straight to "tape" (Pro Tools) with no other equalization or processing in line.

To be fair, the Lawson and Soundelux mics are not designed or marketed as faithful recreations of the original; both are excellent mics that strongly echo the M 251 signature sound while also incorporating updated elements such as a constantly-variable polar pattern, pad and/or low-frequency rolloff. These changes are smart and welcome additions to modern mics that bring a 251-like sound to many who will never have the opportunity to use an original.

In the end, as with all mics, beauty is in the ear of the beholder - always do what you can to use the mic prior to investing. Telefunken USA obviously put an extraordinary amount of time and care in recreating the classic Ela-M 251, and this is reflected in the build, sound and price of the microphone. The result is a versatile world-class tube microphone that was a pleasure to use. While there is no mic for all occasions, when used appropriately the Ela-M 251 sounded great on nearly every instrument at which it was pointed.

Summary

In steadfastly sticking to the as close to the original design, materials and manufacturing techniques as possible, Telefunken USA has created a limited-run, hand-built mic that just might make the leap to a different playing field - one where people weigh the option of buying a vintage model with potentially unpredictable performance for $20,000 or breaking in a new model for around $10,000. It does not hurt that they have the original Telefunken name, design and silver logo stamp!

Stephen Murphy, contributing studio editor for PAR, has recorded over one hundred vinyl and CD releases including Grammy, gold- and platinum-selling albums.

Fast Facts
Applications: Studio recording
Key Features: Multipattern (cardioid, omni, bidirectional); tube; electronically filtered/fully regulated power supply; locking tweed hard-shell case with humidity control.
Price: $10,125
Contact: Telefunken USA at 860-882-5919, www.telefunkenusa.com.

Review Setup
Westlake LCW8.1 and SP Technology Timepiece studio monitors; Hafler and Sunfire power amplifiers; API 512 and Aphex 1100 mic preamps; API 2500 and UREI LN-1176 compressors; Audience high-resolution cables