I started with some side-by-side comparisons of the entire Alchemy family. This gave birth to the Diamond Series of ultra-high end classic recreations including the C12 and U47. THD at 1kHZ at 1Pa (Amplifier): < 0.01%. The output transformer is a custom German-made Haufe transformer, the original manufacturer for TELEFUNKEN. With peaks at 3 and 10 kHz, you get a feeling of presence that nearly always feels smooth and musical, and it sounded excellent on a … There’s also a microphone dust cover, a high-flex 7-meter cable, and a US-assembled power supply. Sensitivity: 14 mV/Pa, ±1 dB. On guitars, it depends where you want the instrument to sit in the mix and what you’re trying to capture. Capsule: TK51S - Edge Terminated Large Diaphragm, Single Membrane. The Telefunken ELA M 251E large-diaphragm tube condenser mic is a faithful rendition of a legend. This workhorse mic is well suited for recording vocals, acoustic guitar, piano, violin, percussion, and other instruments and is also very effective as a room or overhead mic for drums. These characteristics make it especially ideal for recording vocals, guitar amps, and drums. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Maximum SPL (for 1% THD): > 135 dB. Sensitivity: 14 mV/Pa, ±1 dB. Capsule: TK67S Center Terminated Large Diaphragm, Single Membrane. The TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. The original, introduced in 1960, is reverentially considered to … Telefunken has taken its popular R-F-T line and made some well-executed improvements in the Alchemy Series. This attention to detail gives the TF51 a beautifully open and smooth sonic profile. The newly designed kits are quite impressive. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. THD at 1kHZ at 1Pa (Amplifier): < 0.3%. If you like to do Glyn Johns-style drum miking, I can’t recommend a pair of TF51 mics enough. The 6072A vacuum tube (also found in our ELA M 251E and C12) is mated with an edge-terminated style capsule similar to the historic CK12. Alchemy microphones share the same brass body, head basket, and 7.87″ x 1.81″ profile. The Telefunken Elektroakustik TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12.The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. This attention to detail gives the TF51 a beautifully open and smooth sonic profile. Each one shares a direct lineage to a past R-F-T incarnation, and in some cases, a famous classic Diamond Series cousin. THD at 1kHZ at 1Pa (Amplifier): < 0.01%. We first looked at the R-F-T AR-51 in November 2010, when it was based around a TK67 capsule. Key Features: Open and detailed frequency response; Airy and smooth top end, reminiscent of the ELA M 251E; Balanced low end and natural mid range The Telefunken TF51 multi-pattern tube condenser microphone offers a smooth midrange tone, a balanced low end and an open, detailed high-end frequency response that sounds great on a wide range of vocals and instruments. Stop by Booth 15516 in the Pro Audio Hall at the Anaheim Convention center between January 24th and 27th 2019 to see TELEFUNKEN Elektroakustik. TF51. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. The TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12. Key Features ♦ Open and detailed frequency response ♦ Airy and smooth top end, reminiscent of the ELA M 251E ♦ Balanced low end and natural mid range I tracked a song with all of the mics in a close capsule star pattern on a full song of small-body Gibson acoustic guitar, female vocals, shakers, and percussion. Over a decade, the line would grow to include the AR-51, AK-47 MKII, and the CU-29. Frequency Range: 20 Hz – 20 kHz, ±3 dB. The TF47 is not intended to be a U47 clone; rather, it’s a modern design that falls into the U47 family of sound. Telefunken M-81 Dynamic Super-Cardioid Microphone. Tube: n/a. Telefunken mentions that the new K47-style capsule is “…just as punchy in the mids, but the high end is smoother and a bit less ‘in your face’ with a fuller low end.”. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Transformer: Lundahl LL1935. Maximum SPL (for 1% THD): > 135 dB. On electric guitar, 90% of the time I would choose the TF47 for its thrust and controlled low end, but on bass cabinets, I’ve always been a fan of the TF51 which, similar to acoustic guitar, lets the full, deep low end through while highlighting the detail of the fingers or pick on the strings. Tube: NOS GE 5654W. Telefunken Elektroakustik Alchemy Series TF47 & TF51. Except for the cardioid-only TF29, each mic is a multipattern tube microphone. Its midrange response is gently scooped by less than 1dB, and then it displays a 1dB rise at 3kHz that falls back to zero at 6.5kHz, followed by a 2.5dB peak at 10kHz. conscious price point. While the names and models are similar, the Alchemy series is not merely the R-F-T line with a new look and packaging; each model is complete re-boot. Tested and screened Telefunken Elektroakustik. Power Source: +48V Phantom Power. The Telefunken TF51 is a fresh take on the "Austrian" microphone sound associated with the Telefunken ELA M 251E and C12. Again, I would describe this mic as exhibiting a clear yet feathery top end, a smooth and neutral midsection, and a low end that’s full and deep but not exaggerated. On that theme, the TF51 uses the same Telefunken-branded 6072A miniature tube used in the Telefunken ELA M 251E and C12. Dynamic Microphone with Supercardioid Pickup Pattern and 50Hz-18kHz Frequency Response - … S/N Ratio: 90 dBA. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. Dynamic Microphone with Supercardioid Pickup Pattern and 50Hz-18kHz Frequency Response - … The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Output Impedance: < 300 Ω. While each mic looks alike and shares the same ‘digs’, each one boasts a different capsule, tube, and transformer. The low end also sounds natural and lifelike, and I think it does very well recording male vocals. Polar Pattern: Cardioid, Omnidirectional, Figure-8, Capsule: TK51 Edge Terminated Large Diaphragm, Included Accessories: Tube Mic Cable, Power Supply, Shock Mount, Stand Mount, Mic Sleeve, Carrying Case, Airy and smooth top end, reminiscent of the ELA M 251E, CK12-style capsule and Haufe transformer, similar to the C12 and 251E. Every TF51 microphone system comes with a multi pattern M 903 Power Supply, M 803 Tube Microphone Cable, ZC03 Carrying Case, M 703 Shock Mount, M 782 Stand Mount, and Microphone Sleeve. I described the original AR-51 to have a feathery top end, and the 2014 capsule update added smoothness and a fuller low end capture. The TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12. As such, the TF47 does exhibit the telltale midrange thrust one expects in a 47-family microphone; it’s a sound that will quickly push a vocal, guitar or drum front and center in a mix. If you’re after a modern take on one of the classic mic styles without spending boutique dollars, then these might be the mics for you. This lifelike fidelity is created with high quality components based off these inspirations. TF51 The large diaphragm multi pattern TF51 exhibits a smooth midrange and airy top end similar to the ELA M 251E and C12. The tube in the TF47 is a NOS American-made Raytheon/Philips 5840W. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. The Alchemy series comprises four models: The TF47, TF51, TF29, and TF39. Shock Mount M 703 - Shock Mount, M 782 - Stand Mount. Each mic is sent with an individual frequency plot, and while mine weren’t identical, they shared common trends. The amplifier is a JFET design based on the Telefunken M60’s FET amp. The TF51 is a fresh take on the “Austrian” microphone sound associated with the TELEFUNKEN ELA M 251E and C12. S/N Ratio: 90 dBA. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. This gave birth to the Diamond Series of ultra-high end classic recreations including the C12 and U47. This tube was used in the AK-47 MkII and is also used in the ELA M 260. The new grille is a single-construction steel frame with two layers of mesh; the R-F-T was three layers. The Telefunken TF11 is a high-performance, phantom-powered FET condenser mic voiced to deliver a decidedly “Austrian” sonic signature reminiscent of the renowned C12. Switching to the TF39… stay tuned for a future review of my results! Cable M 803 - 7 Meter TELEFUNKEN Tube Microphone Cable, 7 Pin Male & Female XLRs. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Now the R-F-T line becomes the Alchemy Series. For the spec-hungry, the AR51 has a 76 dB signal-to-noise ratio, 16 dBA equivalent noise, sensitivity of 14mV/Pa= -37dB (0dB = 1v/Pa) – 10dB, and 138 dB Max SPL. Here again, it’s a tossup. The transformer in the TF51 is custom designed and made in Germany by Haufe, which also manufactures the T14/1 transformer found in the 251E and C12. Large-diaphragm FET Condenser Mic with Cardioid Polar Pattern based on C12 capsule Blending an Austrian-inspired voicing similar to the legendary C12 with modern FET high performance, the phantom-powered TF11 exhibits a beautifully open and detailed frequency response with exceptionally fast transient response, high SPL handling, and low self-noise. The Telefunken Elektroakustik TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12. This marks a significant change from the previous AK-47 MKII, which used a K67-style capsule. The R-F-T line was launched in 2005, combining global sourcing and US assembly/testing, bringing Telefunken sound and quality to a budget-conscious price point. Capsule: TK51S – Edge Terminated Large Diaphragm, Single Membrane. The Telefunken Elektroakustik TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12.The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. The first two mics pay apparent homage to classic mics of the past, while the CU-29 or Copperhead introduced a brand new Telefunken design. Transformer: OEP/Carnhill T218. The opening is also slightly longer than the R-F-T series for a better capsule position. The output transformer is a custom German-made Haufe transformer, the original manufacturer for TELEFUNKEN. AK-47 MKII, and the CU-29. The TF51 is a fresh take on the “Austrian” microphone sound associated with the TELEFUNKEN ELA M 251E and C12. For this review, we’ll be focusing on the TF47 and TF51. TF47 The TF47 is a new design based on the “German” sound, drawing inspiration from the historic U47 and M49. The output transformer is a custom German-made Haufe transformer, the original manufacturer for TELEFUNKEN. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Power Source: External Power Supply. When switching between mixes made with each mic, it was like turning a focus or tone knob. The microphone and accessories live in a compact hard nylon carry case measuring 10.5 x 13 x 5.5″. I’m pleased that they’re quite different from one another, and they really do hit their familial targets quite well. Frequency Range: 20 Hz – 20 kHz, ±3 dB. Frequency Range: 20 Hz – 20 kHz, ±3 dB. Telefunken TF51 Large-diaphragm Tube Condenser Mic Features: A fresh take on the classic "Austrian" sound; Cardioid, omni, figure-8 polar patterns ; Open and detailed frequency response; Smooth, airy top end reminiscent of the ELA M 251E; Balanced low end and natural midrange Transformer: OEP/Carnhill T218. It’s more robust, and designed to fit the components comfortably with no cramming or overstuffing. The R-F-T line was launched in 2005, combining global sourcing and US assembly/testing, bringing Telefunken sound and quality to a budget-. The TF47 is the U47-flavored model in the line and a direct descendant of the R-F-T AK47 MKII, which we reviewed back in October 2011. The AR-51 has long been one of my favorite drum overhead microphones, especially when you want the overheads to represent the sound of the whole kit with individual spot mics mixed in at low levels for clarity and punch. If you want a more rock ‘n’ roll acoustic sound to poke out of a dense mix, I would choose the TF47, but if acoustic guitar is the star of the mix, then the TF51 captures the rich lows and strums nicely. Self Noise (Amplifier): 4 dBA This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. Telefunken tapped UK transformer powerhouse Carnhill for a custom-wound tranny and sourced premium parts from the likes of Nichicon. The M82 is a robust, end-address microphone that features a large dynamic diaphragm with superb low frequency capabilities. Tube: n/a. Like the TF47, the TF51 is fairly neutral from 20Hz to 200Hz, but with just a touch more body. This is my third time reviewing this microphone. Flight Case ZC03 - Light Weight Carrying Case . The first two mics pay apparent homage to classic mics of the past, while the CU-29 or Copperhead introduced a brand new Telefunken design. Sonically, the TF47 is flat from 20Hz up to 500Hz, where it starts rising to a 4kHz peak of about 3dB. Version two was reviewed in May 2014, after Telefunken changed the capsule to an edge-terminated CK12 style (closer to the ELA M 251 design). From there, the curve rolls off quickly. According to Telefunken, “These changes provide a more open and transparent response. Maximum SPL (for 1% THD): 130 dB. Find A Reseller Buy It… While I only had a single TF51, it continued to shine in this use. The TF51 was smooth and very neutral, with excellent clarity and depth. wenty years ago, Telefunken Elektroakustik opened its doors in South Windsor, CT, and returned the Telefunken ELA M 251 to production after almost forty years. Despite their sharing of bodies and packaging, these are not simply variations on a single mic design. This is a reliable first choice for stand out vocals, acoustic instruments, and percussion. The TF47 uses an all-brass K47-style center terminated capsule. It boasts improved low end frequency response and lower THD figures than its predecessor, due to a better impedance match to the 6072A. The Telefunken Elektroakustik TF51 is a fresh take on the “Austrian” microphone sound associated with the Telefunken ELA M 251E and C12. While it offers the classic U47 thrust and tonality, it doesn’t sound rough, dusty, or vintage in any way. S/N Ratio: 87 dBA Power Source: +48V Phantom Power. While Telefunken claims a 20–20,000 Hz frequency response for the AR-51, as is common with most modern microphones, it is what happens in between those limits that counts. They include two mounting options: a hard ring mount, and an open-faced shock mount. On drums, the TF47 is better suited to front of kick, or as a mono room mic, where it takes compression quite well. Similar in each mic is the use of UK-made polystyrene film filter caps, a Sprague output cap, and a Nichicon Fine Gold cathode cap. Circuit Design The TF51 is a fresh take on the "Austrian" microphone sound associated with the Telefunken ELA M 251E and C12. Self Noise (Amplifier): 4 dBA © 2020 Music Maker Publications, Inc. All rights reserved. Over a decade, the line would grow to include the AR-51. We’ll look at the two Copperhead models in a future issue. The extended low frequency response and new headgrille do a lot for this.-Capsule - Same CK12-style edge terminated capsule as the AR-51-Tube - This has been changed to the same 6072A we use in our 251E and C12. Recording Magazine and Music Maker Publications, DECEMBER 2020: Warm Audio WA-87 R2 FET Condenser Microphone, NOVEMBER 2020: IK Multimedia ARC System 3, SEPTEMBER 2020: SPL Mercury Mastering DA Converter, Gauge Precision Instruments ECM-80 Dynamic Vocal Microphone. With a deep low end and a forward midrange, the TF47 is excellent for adding depth and presence to any source. TF51 - We've refined the AR-51 to inch a little closer to the ELA M 251E sweet spot. I’ll get more into use below, but one aspect of the TF47 that I quite enjoy is how clean and smooth it is. Sensitivity: 17 mV/Pa, ±1 dB. This is one of the nicest mic cases I’ve seen in a while. Likewise, the terminated capsule is described as a single-membrane version of the one featured in the Telefunken TF51. See the frequency response diagram on the Telefunken site. This workhorse mic is well suited for recording vocals, acoustic guitar, piano, violin, percussion, and other instruments and is also very effective as a room or overhead mic … The mic’s frequency response rises by about 10 dB from … Though it was designed to capture fat and punchy kick drum tones, the two on-board EQ switches make the M82 equally suited for a multitude of sources including vocals, percussion, guitar and bass amplifiers, organ, and brass instruments. Telefunken did not skimp on quality in order to bring it in at an affordable price point for serious home studios (not that they ever do). A sibling to the Telefunken M80 dynamic mic, the M81 offers a smoothed-out high-frequency response to … This pair of Telefunken TF51 multi-pattern tube condenser microphones offers a smooth midrange tone, a balanced low end and an open, detailed high-end frequency response that sounds great on a wide range of vocals and instruments. For reference, the 251 headgrille has two layers of mesh.”. The transformer is also carried over from the AK47 MKII and is a custom-wound, historic spec BV8, which was used in classic U47 microphones. And do not let the product description lead you to think it is deficient in low end. This is a reliable first choice for … The TF51 continues this legacy, exhibiting a smooth midrange and airy top end, capturing every nuance in pleasant detail. Twenty years ago, Telefunken Elektroakustik opened its doors in South Windsor, CT, and returned the Telefunken ELA M 251 to production after almost forty years. Its midrange response is gently scooped by less than 1dB, and then it displays a 1dB rise at 3kHz that falls back to zero at 6.5kHz, followed by a 2.5dB peak at 10kHz. It’s much better than the usual off-the-shelf aluminum briefcases that come with most microphones in this price range. The low end of the TF51 is flat. In use, the TF51 has a noticeably different character to the other mics in the range, feeling a bit leaner and with a more pronounced top end. On female vocals in a sparse folk mix, I preferred the full, feathery TF51, but on a fuller indy rock track with loud guitars and a male vocalist, the TF47 was the better choice. The TF51 retains the same capsule, and thanks to the new dual-layer mesh grille, inches even closer to the 251 sound. Output Impedance: 110 Ω. Selecting the TF47 tightened up the lows while thrusting the upper bite of the acoustic and the vocals forward. Like the TF47, the TF51 is fairly neutral from 20Hz to 200Hz, but with just a touch more body. TF51 Frequency Response Output Impedance: 110 Ω. This attention to detail gives the TF51 a beautifully open and smooth sonic profile.
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