Telefunken ELA M 260 Master Set Small-diaphragm Tube Condenser Microphone Reviews
Since the early 1960s, the Telefunken ELA M 260 small-diaphragm tube condenser microphone has been one of the most widely acclaimed and highly sought-after classical recording microphones on the planet. You’ll be hard pressed to find an engineer who’s used an ELA M 260 on any kind of acoustic instrument who didn’t instantly fall in love with this mic, plus it sounds absolutely amazing on vocals. And since it comes complete with three interchangeable capsules, you’ll be able to use your Telefunken ELA M 260 microphone in any situation.
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Highest Rated Reviews
Best small diaphragm condense mic I have used
So far, all of my work has been done using one of the three supplied capsules (the hypercardiod capsule). This mic has a rich sound and little self noise. Not quite as warm as a large-diaphragm mic, but very good at capturing the low registers. It is pricey, but it *is* a tube mic with three supplied capsules. I wish they had included a hard-shell case of some kind, as the kit consists of 4 separatable parts. The sound of this mic is a step above a Neumann SDCM, and the Neumann has a great sound.
Great on acoustic guitar and hand percussion
We're very happy with our new Telefunken ELAM 260. Now that we've done a few recording sessions and a shootout with the Neumann KM184, we can provide an informed opinion. On acoustic guitar the ELAM 260 and the KM184 are similar, but the differences are definitely there. The 260 is more open and and airy, and the low end is tighter and better defined. On djembe the difference becomes more obvious. The ELAM 260 seems to have much better transient response, so the djembe sounds much more immediate, more like being in the room with it. By comparison the KM184 sounds like listening to a recording. The recordings were made on a Focusrite Liquid 56 (flat - no preamp emulation) and playback was on JBL 4410A speakers powered by an Alesis RA-500 amp. If you can swing it, buy this mic. You won't regret it.
